j

£
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November 1Q30
R«n« Bord<
-35 Cent>s a Copy

ublicationfi Professionals
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“Sea Legs’’ Paramount Allen Siegler

“Virtuous Sin” Paramount. David Abel

“A Lady’s Morals” M-C-M George Barnes

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 ANNOUNCING new
COOKE LENSES

especially corrected
for both orthochromatic and panchromatic film

New covering power, definition and brilliancy

For both Standard and " Wide Film"!

LIST OF COOKE S P E E D - P A N C H R O LENSES
24 mm. Cooke F2 40 mm. (1%") Cooke F2 *75 mm. (3") Cooke F2
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For full details and prices covering both unmounted and mounted Speed-Panchro Lenses write to

BELL
Bell
New
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York, 1 1
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West 42nd
& HOWELL
W, 1848 Larchmont Ave., Chicago, Illinois.
Street, Hollywood, 6324 Santa Monica Blvd.
London (B. & H. Co. Ltd.) 320 Regent Street / r Established 1907
Bei Aufragen und Bestellungen beziehen Sie sich bitte auf die American Cinematographer.
1
 Since the advent of sou nd morei than 8000
lighting units have been manu (actured by
Mole-Richardson and are renderi ng con-
sistent service to the Industry.

There is something rather convinci

that fact , as to performance, c

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products. There is also the ama
thatmore Mole-Richardson "Ink
been manufactured and put in
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ing else is necessary to reveal tl

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Veuillez faire mention de I’American Cinematographer en ecrivant aux announceurs.

2
 . AMERICAN
CINEMATOGRAPHER
A Technical and Educational Publication, Espousing Progress and Art in Motion Picture Photography

HAL HALL
HAL MOHR Editor-in-Chief and General Manager, A. S. C. EMERY HUSE
President, A. S. C. SUITE 1222 GUARANTY BUILDING, HOLLYWOOD. CALIFORNIA Technical Editor, A. S. C.
BOARD OF EDITORS: William Stull, Herford Tynes Cowling and Ned Van Buren

Volume XI NOVEMBER, 1930 Number 7

CONTENTS
Page

TEN YEARS OF PROGRESS, by Hal Mohr, A. S. C 9

COLOR CORRECTION IN THE “COOKE.” “SPEED PANCHRO”

AND “PANCHRO” LENSES, by J. A. DUBRAY, A. S. C 10

THE MEASUREMENT OF DENSITY IN VARIABLE DENSITY

SOUND FILM, by Clifton Tuttle and J. W. McFarlane 14

S. M. P. E. OFFERS FILM RATIO 16

SCREEN DEFINITION, by Dr. L. M. Dieterich.. 17

HAL HALL SAYS 18

A LETTER FROM HOLLYWOOD, by Joe Doakes 20

MAKING “WHOOPEE” WITH INKIES, by Fay Lawrence 33

AMATEUR MOVIE MAKING, by Wm. Stull, A. S. C 34

PROFESSIONAL AMATEURS, by Wm. Stull, A. S. C 36

CINE-KODAK COES ON ALASKA LOCATION,

by J. W. Boyle, A. S. C 39

MAKING MULTICOLOR TWO MILES UP, by Wm. Stull, A. S. C 44

FOREICN REPRESENTATIVES
Georges Benoit, c-o Louis Verande, 12 rue d’Aguessau Paris, 8e
John Dored, Paramount News, Paramount Building, Rue Meyerbeer, Paris IXe, France
1

Herford Tynes Cowling, Eastman Kodak Company, Rochester, New York, Eastern Representative
Harold Sintzenich, Eastman Kodak Company, Bombay, India

PUBLISHED MONTHLY by THE AMERICAN SOCIETY of CINEMATOGRAPHERS, INC , HOLLYWOOD, CALIFORNIA

Established 1918. Advertising Rates on Application. Subscription: U. S., $3.00 a year; Canada, $3.50 a year; Foreign, $4.00 a year; single copies, 25c

Telephone GRanite 4274 Copyright, 1930, by the American Society of Cinematographers, Inc.

3
 A scene from “Morocco,” a Paramount Picture.

. . . and now, even more faithful! for

44
Wi di es ** and ii Cotor"
The talking-si nging-Z/fing pictures have devel- ripple of rhythmic movement — every accent of

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in ten years before. National Photographic Carbons — as reliable

And “light men” find that National Pho- as a shaft of sunlight — as sensitive as the play

tographic Carbons have advanced in step with of moonlight on the surf —Taithful friends of

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“Wide” films the finest of values for color

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Please mention the American Cinematographer when writing advertisers.
4
leadership
^(eadership is attained through the

proven ability of a product to render per-

formance and service superior to that of any

competitor.

In the development of the motion

picture industry is offered a product, the

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Bei Aufragen und Bestellungen beziehen Sie sich bitte auf die American Cinematographer.
5
 I

Still by Milton Brown

GRACE MOORE and LAWRENCE TIBBETT

in

•• THE NEW MOON ”

Cinematographer, OLLIE Marsh, A. S. C. Make-up Artist, GEORGE WESTMORF.
A METRO-GOLDYWN-MAYER PRODUCTION

Max Factor’s Make-up

USED EXCLUSIVELY

MAX FACTOR MAKE-UP STUDIOS

Highland Avenue at Hollywood Boulevard
HOLLYWOOD, CALIFORNIA
Tel. HO-6191 —444 West Grand Ave.
Chicago Office- Cable Address "Facto”

Other Foreign Branches

Max Factor’s Max Factor’s
Panchromatic No. 4-C Her Majesty’s Arcade Paseo dela Reforma 36 Vi, Mexico City.
and Sydney, Australia. Theatrical
London Office: 10 D’Arblay St.,
T echnicolor No. 39 Escolta St., Manila, P. I. London, England Make-up
Make-up
for the Corner Joubert & Kerk Sts., 500 Sarmiento, Buenos Aires, Argentina. for the
Screen Johannesburg, So. Africa Edificia Mineria, Lima, Peru. Stage
H-l 30,Vedado, Habana, Cuba. 720 South Street, Honolulu, T. H.

Per piacere menzionare il Cinematographer quando scrivendo a! annunziares.

6
 )

SURPRIZED
IN
HIS
LABORATORY

Dr. Tanar lecturing on the System

Full information on Dr. Tanar’s Unique Portable Sound-on-Film System which has been so successful in bad cases of run
down Commercial Film Business, will be mailed free if you tear out the prescription * at the bottom of the page and mail to,

TANAR CORPORATION, LIMITED

General Offices: 5357 Santa Monica Blvd., Laboratories 1110-1112 North Serrano Ave.,

HOLLYWOOD, CALIFORNIA, U. S. A.
Telephone: HEmpstead 3939. Cables: TANARLICHT.

I
* To remove prescription easily,

on dotted
DR. TANAR
fold line, press with
Care Tanar Corp., Ltd.
luke warm flat iron; bend for- 5357 Santa Monica Blvd.
Hollywood, California, U. S. A.
ward and backward several

times to weaken structure of

paper; then apply a thin coat

Patient's Name
of Aftricannel (double strength

which can be purchased at any

Address
drug store handling Nitro-

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1 Folder with pictures and full description of the Tanar
portable sound system.
onds and you will find the

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1 Book “What Owners Say.’’
(Dose; 1 dose will be plenty)
tached with a sharp razor blade.
Copyright 1930. Tanar Corp., Ltd.

Var god omtala den Cinematographer in skrivning till annonsers.

7
 LOYALTY-- PROGRESS — ART— DISTINCTION BASED ON MERIT
s i

^
THE MEN WHO MAKE MOTION PICTURES
VOL. I. NO. I LOS ANGELES. CALIFORNIA. NOVEMBER I. 1920 TEN CENTS A COPY
OUR BILLION DOLLAR FILM SOUTHERN CALIFORNIA
INDUSTRY IDEAL FOR PICTURES

Motion Picture Making Attracts

Notable People to Los Angeles
and Southern California Im- —
THE CAMERAMAN Philip E. Rosen, president of the
American Society of Cinematogra-
phers, and a director of all-star
portant Developments in Evi- casts for the Metro organization,
dence in All Studios. The man who works the camera must be athoroughly decent fel- an authority on matters of pho-
low or else he could not hold his position, as he has much to contend tography in motion pictures, who
Los Angeles is steadily forging with and much is laid upon his unhappy head which should be blamed has toured most of the interesting
ahead as the greatest of all motion —
elsewhere faulty direction, faulty chemicals, or faulty work in the sections
home in
since establishing his
Los Angeles about two
picture producing centers of the dark room.
world. Millions of dollars are be- The importance of the cameraman is paramount. Without him years ago, is pronounced in his
praise regarding the charming
ing paid ont annually in salaries no good picture can be taken. He must be a many-sided individual to
and operating expenses by com- continue in his position successfully. He must, first of all, be able to beauty of this wonderland of
panies located in this city, and take good pictures, apart from that, he must necessarily he a brave Southern California for moving
prominent writers familiar with pictures. lie says:
man and ready to attempt anything asked of him. He must be clear-
the subject, state that about 80 headed, so that he can stand on the edge of a skyscraper, and lean over “There is every evidence that
per cent of the motion pictures the charms and alluring nature-
the top of a precipice, for that matter. lie must perch himself in almost
made in America are made in Los settings of Los Angeles, San Ber-
incredible angles, and perhaps stand waist deep in the river or ocean.
nardino, Riverside, Redlands, the
Angeles. He must stand steadily by his work when some wild beast comes men-
This means much to the cinema- acingly close, when the other members of the party can run to shelter,
mountains and foothill districts

—
tographers the men who make and all the while he must steadily crank, and see that his camera is ifot tributary, and famed Catalina
Island, which are embodied in
the motion pictures. It means that injured by fire, animals or water, and it is a matter of record that very
the reliable cameramen of execu- valiant deeds arc performed by the cameramen, deeds that few actors
moving pictures, are popular
tive and general business ability throughout the world.
or directors care to brave.
who know how to correctly pho- The average cameraman is a fatalist and a stoic, and lie must htfve “Through the great variety of
tograph motion pictures have a scenery, plains, forests, golden
the temper of a saint, for the best of directors are irritable at times,
bright and interesting future. But fruit orchards, mountains and
and even cameramen are liable to mistakes, liable to start on a scene
they must work and establish without enough film in the box, liable at times to be out of focus, for marine perspectives, this country
own identity through orig- offers unusual advantages for the
their he has many, many things to think about, and he has to think quickly
inal photography while co-operat- settings of moving picture scenar-
and to be prepared for emergencies.
ing at all times with their direc- ios, especially in the radiant days
The modern cameraman is for the most part a silent individual; he
of the almost continuous summer
tors. is more or less preoccupied with his work, and has not much time to mix
There is the reason why the with the players. He has to prepare his camera and magazines in the —
months and nearly all the year is
members of the American Society early morning, and when he returns from the day’s work he is occu-
summer in the Southland.
of Cinematographers are steadily “Alpine settings may be found
pied with seeing results, so that if there are any retakes, the company
expanding with the growth and in the snow and declivities of Mt.
may be ready to remake the scones the following day. By the time
prestige of the industry. These he is through with his work he is ready to go home and stay there, for Wilson and Old Baldy, only a few
alert, tireless, energetic men of miles away; the great sweeping
he needs all the rest and sleep he can get as a rule, as he knows he can-
the camera believe in progress beaches of the Santa Monica Bay,
not afford to allow such things as nerves to attach themselves to his
along educational lines because system. The cameraman leaves little things like that to the players
Redondo and San Pedro, with Cat-
they realize their future is in the alina Island in the nearby dis-
and the directors, and endeavors to go his own way serenely.
making. As the motion picture in- tance, offer most fitting surround-
The man who works the camera must necessarily be a student,
dustry grows in importance their ings for the activities of ship-
otherwise he will fall into a rut, and then— oblivion. There is so much
work is sure to win that substan- excellent photography today, and so many new effects being thought
wrecked sailors, pirates, fishing
tial recognition that, places them scenes, shipping and seaside ro-
of. that a conscientious man is forever thinking of some new -and star-
mances. Farm life, with the old
on a par with the director. The
cinematographer is in « large
tling effect or innovation —
something new, of which he may be proud,
homesteads, and the mystery of
and yet he knows that his name is not likely to be mentioned when
measure responsible for the per- the foothills, cactus and sage
something particularly new, even of his own creation, is shown on the
fect picture, and no matter what brush, all furnish the common and
screen, lie is content that it is the child of his brain, and that his fel-
ability the star may possess, nor lows of the camera know of his feat.
uncommon needs of the scenarios.
how well the director direct, un- “These great advantages have
The cameraman is slowly, surely, coming into his own as screen
less liis cameraman knows his led to a new industrialism in
developments attest his worth.
business the picture proves » cost- Southern. California, moving pic-
ly failure. The cinematographer CINEMATOGRAPHERS IN THE FIELDS OF ACTION ture studios and manufacturing
is largely responsible for the plants have been erected in many
achievements of the billion dollar News Notes of Current Events in the Studios Where the Films Are in places, and what the neighborhood
industry. —
the Making Mention of Recent Releases. has to give to the pictures in per-
fect surroundings will be returned
The season of 1920-1921 with in commercial profits the time
APPRECIATIVE RECOGNITION turing Ben Wilson and Neva Ger- ;

the members of the American So- ber in. “The Crimson Lash,” a having come when even the still
ciety of Cinematographers prom- life of natural beauties can be a
most pleasing to representa-
It is spectacular dramatic serial of
tive cinematographers to note the ises to be unusually active and in- fifteen episodes, says this picture
source of profit.
feeling of recognition and appre- teresting, with several remarkable will rank among the modern thril-
“Tbe value of pictures has been
productions in the making that lers as a very exciting serial. It
enhanced, and while people all
ciation of their efforts to aid in .

producing the highest quality pho- should establish new precedents will be completed about December over the world are being made ac-
for the film industry. quainted with the beauties of Los
tographic effects iu motion pic- 15th.
Mr. Charles G. Rosher, cinema- Mr. Ernest S. Depew, who is Angelos and the attractive regions
tures. The representative and in-
tographer for Mary Pickford, is photographing “Slim” Summer- surrounding, the pictures them-
telligent directors and heads of
selves are being improved a hun-
producing organizations, stars and in the midst of production photo- ville and Bobby Dunn, under the
players, depend much upon the graphing modern Italian scenes direction of Joe Bordeaux, in a big dred fold because of the superior
cameramen. A fitting testimonial for Miss Pickford’s new six-reel Manning comedy production, says and real nature of tbe background.
to the ability of most of the cam- picture, “The Flame in the Dark,” the laugh lovers will receive full Nature and the moving picture
eramen is shown on the screens of directed by Frances Marion. benefits when they look upon this form a splendid and educational
Mr. Philip E. Rosen, who is di- film, now about ready for release.
partnership as told by tbe cameras
pictures of note by the appearance
Mr. Fred W. Jackman, who of our cinematographers
thereon following the name of the recting Metro productions, recent- is

director, of the name of the cam- ly finished the picture “White in the midst of a remarkable series
eraman photographing the pic- Ashes,” an all-star cast being fea- of comedy stunts for a big Mack BUILDING IMPROVEMENTS
ture. The recognition of the cine- tured The story is by Luther Sennett Comedy wherein Ben Tur-
matographer evidences the great Reed, written for the Metro. Mr. pin and Charlie Murray are being Many substantial and represent-
mind. It shows the director who Rosen is now directing May Alli- starred, describes a number of ative improvements are- being
is r»mud of his own achievements son inthat remarkable story en- camera effects more than usually made by the film manufacturing
who is willing to share honors with titled. “Arc Wives to Blame,” a out of the ordinary, covering spe- and producing interests in and
his cameraman, and it is the men six-reel that promises unusually cial photography of all arts and around Los Angeles giving evi-
of this class who create the most interesting features. angles in this five-reel 1920 spell- dence of the growth and import-
notable successes in motion pic- Mr. King D. Gray, cinematogra- hinder ance of this great industry where-
ture's. pher with J Grub Alexander, fea- (Continued on page 2 ) in millions of dollars are invested.

8
Ten Te ars of T^ogress
by HAL MOHR, President, American Society of Cinematographers

S —'EN YEARS ago this month a little, four-page, semi-monthly paper, devoted to
[J
the interests of Cinematographers and Cinematography, made its initial ap-
v 0 III
HI pearance
teen inches
in Hollywood.
— —
Nothing pretentious just four pages nine by four-
telling the latest developments in cinematography. This little
paper, whose front page is pictured opposite, was called “The American Cinematog-
rapher,” and was published by the American Society of Cinematographers, Inc. The
first issue appeared on November first. At the time there was no thought in the
minds of those who started it that this paper some day was to become the outstand-
ing magazine devoted to Cinematography, professional and amateur, and to prac-
tically all other technical matters pertaining to the making of pictures.

the little paper grew until it was decided that it be changed into
Gradually,
a magazine. influence was being felt throughout the picture industry. Then it
Its
became a monthly and took its place at the head of the magazines pertaining
to the cinematographic field. Its reputation spread to Germany, England, France
— and as interest in motion pictures spread, it followed until today it is read in
every state in the Union and in thirty-six foreign countries. From a four-page
paper it has grown into a fifty-four page magazine that is eagerly looked for by
thousands of readers all over the world. And —
within the next few months it
will again expand in size and before another year is expected to contain close to
one hundred pages of instructive material each month.
As the picture business developed and changed, so has the magazine. When
sound came into existence this magazine was one of the first to give to its readers
the latest technical developments along these lines. As the 16 millimeter camera and
home projectors grew in favor and the home movie makers were seeking infor-
mation from those who, by experience in the professional field, could intelligently
help, this magazine introduced a department devoted to these amateurs which
has won popular favor and is steadily growing and making its influence felt.
—
Now the magazine is celebrating its tenth anniversary. And it is doing it in
the same manner it has grown during the years
blazing trumpets. We
—
quietly and without splurge or
are not asking our advertisers to spend money for additional
pages in which to congratulate us on our growth. It has been the loyal support of
these advertisers that has made possible our growth. In the early days when our
circulation was very small some of these advertisers who are still with us showed
the faith of pioneers by placing their advertising with us. We
take this opportunity
of thanking them. Today we know we are giving tremendous value to our adver-
tisers, and we are happy because their faith was not misplaced.

Tremendous strides ahead are being planned for the coming year and we want
to assure every reader that no stone will be left unturned in an effort to make this
magazine remain at the head of the field of its kind. New
departments are to be
created in the near future which will be announced from time to time. We
will be
pleased to hear from any of our readers who care to make suggestions as to edi-
torial content or features which they feel may make
the magazine of still greater
worth. As we start our eleventh year we again thank all of you who have grown
with us, and express the hope that both the magazine and you will enjoy as much
prosperity in the next ten years as in the past.

9
 .

Col or Correction
7
n the "Cooke / "Speed Panchro" and "Panchro" Lenses

by JOSEPH A. DUBRAY, A. S. C.

(NOTE: — -This article was suggested to the author by an

The analysis of the ray’s paths and their position in the
informal discussion between him and Mr. A. Warmisham,
Optical Director of Taylor-Taylor-Hobson, the makers of the image area permit the optician to accurately determine the
“Cooke” Lenses. remaining aberrations and therefore to modify the design of
Color correction for cinematographic lenses has been, for
the last two or three years, the subject of continued discussion the system so as to obtain the greatest possible “correction”
in the cinematographic world. without altering the predetermined lens aperture.
The exigencies of talking pictures and the definite adoption
by the Motion Picture Industry of Panchromatic Films have The aberrations which are inherent with an optical system
dictated to Mr. Warmisham the necessity of supplementing his
laboratory research with a thorough survey of the production the elements of which are bounded by spherical surfaces are:
fields of Hollywood, New York and Europe. SPHERICAL ABERRATION, COMA, ASTIGMATISM, DISTOR-
His investigation resulted in the offering to the cine-
matographic world of the new series of F 2. “Speed Panchro” TION, CURVATURE OF FIELD, CHROMATIC ABERRATION
and F 2.5 “Panchro” Cinematographic lenses, which have been These are further complicated by secondary aberrations which
designed by H. W Lee of Taylor-Taylor-Hobson.
The author offers the following essay to the consideration may be considered as subsequent errors of the same order as
of the Cinematographers and Technicians of the screen in an their primaries.
effort to generalize a clearer understanding of the factors
involved in the correction of the chromatic aberrations in The errors due to aberrations cannot be fully eliminated or,
—
modern Cinematographic lenses of wide aperture. The Author) to use the common expression, they cannot be fully “cor-
rected” and a photographic lens is, therefore, at its best but
N THE computation of photographic lenses, the optical de- a compromise.
signer traces step by step the path of a selected group of The magnitude of the errors which remain in the finished
light rays through the system of lenses which he has, at objectiveis decided upon by the designer according to the use

first, rather roughly selected as nearly answering the require- for which the lens is being created.
ments necessary for the lens to be suitable for the special The optician is constantly confronting a long series of arduous
purpose for which it is designed. problems which are created by the fact that the means adopted
For Cinematographic Lenses, it may be stated
the that for correcting one error may produce errors of a different order
ultimate goal of the optician is to minimize the effects of the and, therefore, his ingenuity, coupled with his knowledge of
various aberrations which are inherent with the physical the conditions under which the lens is to be used are the
properties of glass and at the same time reach the maximum determining factors in regard to the suitability of the finished
possible luminosity or speed. instrument.

FOCUSING DISTANCES FOCUSING DISTANCES

FIG. I FIG. 2
FIG. Relation between wave lengths and focusing distances for a FIG. 2. Relation between wave lengths and focusing distances for a
refracting telescope, designed for photographic use. refracting telescope designed for visual observation.
10
 3

November, 1930 AMERICAN CINEMATOGRAPHER Eleven

resulting in a combination reasonably free from chromatic

aberration.
Such lenses are called ACHROMATIC.
It must be borne in mind, however, that “dispersion” is
not a finite entity, which can be fully expressed with numerical
mathematical exactness and since it only expresses an infinite
number of differences between the refractions for the various
colored rays it is confined to express a mean between them,
or between two chosen colors.

Dispersion for a certain glass is usually determined by sub-

tracting the refracting index of the colored light corresponding
to the “F” (Blue-Green) of the spectrum from that of the
line
“C” (Red line) the wave lengths of which are respectively
486.15 and 656.30 micro-millimeters.
When this mean dispersion is considered in the calculation
of achromatic lenses, only these two colors will be accurately
brought to the same focus while the others will fail to do so
and cause therefore the existence of a residual aberration.
This phenomenon is known by opticians as the “Secondary
Spectrum” effect.

Some reduction of the secondary spectrum effect is indeed

obtained by bringing to the same focus three instead of two
colored light rays, but this entails an increase in the number
of glass surfaces and a reduction in the speed of the lens which
is appropriate for some special work such as the trichrome
reproduction of paintings and colored objects but which would

FOCUSING DISTANCES be in opposition with the speed requisite of objectives for

cinematographic work.
FIG. The only optical instrument in which opticians have suc-
ceeded in correcting the secondary spectrum is the “apochro-
FIG. 3. The D G curve of the secondary spectrum in lenses in use in matic” microscope objective and for this the correction has
pre-panchromatic times. been made by substituting the crown glass which would
ordinarily be used by a cristallyne mineral, Fluorite.
This practice cannot, however, be extended to photographic
objectives simply because Fluorite cannot be obtained in suf-
It is to be especially noted that the types of lenses which are
ficiently large pieces of optical clear quality. For example,
best adapted to reduce the Chromatic aberration to a mini-
mum, are the worst offenders in respect of curvature of field to make a 3" lens working at a maximum aperture of F 2.,

and astigmatism corrections, and it is literally true that the (Continued on Page 22)
aperture and the quality of the color correction are both
limited by the necessity of producing a flat field.
Since this article is intended to briefly discuss the correction
of the chromatic aberrations for lenses as developed for cine-
matographic work, we shall disregard all other aberrations and
construe that the optical system under consideration is exempt
of all errors but those introduced through the impossibility for
modern high speed photographic lenses to focus accurately in
the same plane all the various color images.
This deficiency is, as stated above, entirely independent from
conception of design or workmanship and is inherent with the
physical properties of glass.
The index of refraction of every single piece of glass, varies
for the lights of different color and thus, if a single piece
all

of glass is ground and polished in the shape of converging lens,

its power of convergence varies for the different colored rays.

Since the convergence of the blue rays is greater than that of

the red rays, the single lens will have a shorter focal length
for the former than for the latter.
If the differences between the refractions for the various

colored rays, which phenomenon is called “dispersion,” were

proportional to the refraction for all glasses, there would be
no remedy for chromatic aberration.
However, the ratio of refraction to dispersion varies for
glasses of different composition and density and if two glasses
are chosen, one having a high refraction for low dispersion and
the other a low refraction for the same dispersion and from
them two lenses are made, one positive or convergent and the
other negative or divergent which combined form a positive
FOCUSING DISTANCES
whole, it is quite evident that such combination can be
designed in which the chromatic errors of one lens are
FIG. 4
FIG. 4. Secondary spectrum curve illustrating the nearest possible
neutralized by the similar but opposite errors of the other compromise for coincident visual and photographic foci.
Twelve AMERICAN CINEMATOGRAPHER November, 1930

ARRY PERRY, A. S. C., has just returned from Hawaii, where he photographed some beautiful
H subjects in Multicolor. Some idea of the scenic beauty of his pictures may be obtained from
the photographs on this and the opposite page. Above is the Grand Canyon of Hawaii, located on
the island of Kanaai. This was admirable in Multicolor.

ERE view from the island of Kanai. You can wade out a half mile Mr. Perry
H says
is a
it was an admirable subjectfor photographing in natural colors.
in this surf.
November, 1930 AMERICAN CINEMATOGRAPHER Thirteen

HIS is the crater of Haleakala, “House of the Sun,” on the island of Maui. Mr. Perry and his
T company had to take camera equipment on pack mules to get this. “But it was well worth it,”
says Mr. Perry.

OLD everything! Here Mr. Perry, himself, snapped moment of fun, as he was doing a
H
are
little
all hard work!
is

rehearsing with a few good looking hula dancers.

in a
Who says these cinematographers’ lives
The Measurement of Density in Variable
Density Sound Film
Communication No. 435 from the Kodak Research Laboratories. (Read before
the Society of Motion Picture Engineers at Washington)
Reprinted from The Journal of the S. M. P. E.

by CLIFTON TUTTLE and J. W. McFARLANE

HE DEPENDENCE of the optical density of developed angles close to the normal are so small compared to the in-

T photographic materials upon the method of its measure-

ment was first demonstrated by Callier. 1 He discussed the
tensity of the specularly transmitted beam that one might feel
justified in neglecting their effect. These curves are only cross
effect of light scattering by the photographic image and pre- section views of the distribution, and to get an accurate con-
sented data which seemed to justify the empirical relation: ception of the total amount of light scattered away from the
D|| = QD -||- normal, the intensity values given by the ordinates in Fig. 1
where D|| the value obtained with the
(specular density) is must be multiplied by an area factor which varies with the
developed image in a specular beam, D-||- (diffuse density) the sine of the angle from the normal.
value obtained with diffuse illumination, and Q a constant
The following relation may be used to determine the total
factor greater than unity.
transmission from the angular distribution curves:
This form of relation holds with practical accuracy for many
materials though it has since been shown by Bloch and Ren- 90°
wick 2 and by one of us3 that an exponential relation fits the 7"Total = 2tt S Jd sin 0 A0
facts better over an extended density range for the data of 0°
Callier and for other data on a variety of materials. A theoretical
relation involving optical constants of the grain clumps pro-
4
posed by Silberstein and one of us, finds excellent experimental
justification, and if enough information regarding the optical
characteristics of the developed image was available this rela-
tion could be applied to the solution of any practical problem.

Density Measurements in Relation to Sound Pictures

theory of sound reproduction with the variable den-
In the
5 8
sity method as outlined by MacKenzie, Jones and Sandvik,
and others 7 the measurement of sound track density plays an
important part, for it is from these measurements that the
values of negative gamma, positive gamma, and the resultant
or over-all gamma are determined.
The value which is effective in the reproduction
of density
of the sound track is neither “diffuse” nor “specular” in the

sense that these two terms have been used in the literature.
So far as we are aware, there are no published data correlating
“sound-reproducer” density with either of the aforementioned
values. It may be of interest, therefore, to consider briefly

the matter of density measurement in its relation to sound

picture projection.

Angular Distribution of Intensity from Positive Film

Illuminated by Parallel Light

Because of the fact that the photographic image is a non-

homogeneous material formed by clumps of metallic silver
grains embedded in a matrix of gelatin, the which is
light
transmitted by the image is scattered by reflection and dif-
fraction. Fig. 1 shows distribution curves
for images developed
on motion picture positive film. To obtain these curves, the
sample was illuminated by approximately parallel light and
the intensity distribution was read with a photometer mounted
on a spectrometer arm so that it could be rotated about an
axis passing through the image. The normally transmitted
intensity is so much greater than the intensity a few degrees
away from the normal that it is practical to show only a section
of these curves in the graph.
At glance,
ANCLES IN DECREES
first distribution curves, such as are illustrated
FIC. 1. Distribution of light scattered by positive film of different
in Fig. 1, may be misleading. The relative intensities even at densities (expressed as per cent of normally incident light.)

14
November, 1930 AMERICAN CINEMATOGRAPHER Fifteen

* c

FIC. 2. Diagrammatic representation of light scattering by

photographic density.

in which 'J'O is the average value of the ordinate over the in-
crement, A0. The same relation may, of course, be used to
determine the effective value of transmission between limits
fixed by the solid angle subtended at the measured sample by
the window of the receiving element.
The significance of light scattering by the photographic
deposit in the problem of density measurement may be made
FIC. 4 Density of positive film image as measured by a photo-cell
clear by reference to Fig. 2. whose window subtends various solid angles at the measured sample.
In this figure, parallel light, represented by arrows at the (Log 10 of one-half of the solid angle is plotted.)

left, is incident upon the photographic density, A. The trans-

mitted light is indicated vectorially by the arrows at the right is collected by the photo-cell. It is nevertheless desirable to
of the figure. If a printing material is placed in contact with state as specifically as possible the conditions under which we
the illuminated sample, all of the transmitted light, regardless have made our measurements.
8
of direction, is effective in exposing the positive material. A Fig. which was used to illu-
3 illustrates the optical system
measurement of density, to be significant for contact printing, minate the sample with a slit image. This system was built
must therefore be based upon the total transmission, that is, up from standard parts and it duplicates the system which
it must include an angle of 90 degrees each way from the
is actually used in many theatre installations. Most of the im-
normal in Fig. 2. This value, which is spoken of as “diffuse portant dimensions are given in the figure. Both lenses, B and
density,” is the value given by most of the commonly used D, are of 10.5 mm. diameter and the solid angle subtended
densitometers.* by the objective lens at the density, E, is 31 degrees.
If the photographic deposit, A, is included in an optical A potassium photo-cell with a window 25 mm. in diameter
system and is imaged by a lens (B, Fig. 2) which subtends was placed at various distances from the measured sample,
a relatively small solid angle at A, most of the scattered light
thus altering the solid angle of the cone of light which was
is lost and should not be included in a measurement of the
collected. Photo-current was measured with a Leeds and
transmission (or density) if a projection print is to be made Northrup H. S. galvanometer calibrated with the cell over the
of the image. Under these circumstances the specular value intensity range actually employed.
of density (Djj) is nearer to the correct value. A series of densities developed on Eastman positive film in
In sound reproduction, with the sample illuminated by light
M. P. 6 to a diffuse gamma of 2.0 was measured.
1

from an optical system and with the transmitted intensity A typical set of data is shown graphically in Fig. 4 in which
collected by the window of a photo-cell (represented diagram- the measured values of density are plotted against log™ of the
matically by C in Fig. 2) a value intermediate between the half angle subtended by the window of the photo-cell at the
diffuse and specular densities is effective. sample. The lowest values of density, D were obtained
Density Measurement Under Practical Conditions
with the Capstaff-Purdy densitometer and are shown plotted

Several factors may

influence the value of density as meas-
at the abscissa = log™ 90° .95. = 1

most of the reproducers used in theatres, the angle sub-

In
ured by the photo-cell in the reproduction system. The degree
tended by the photo-cell window at the film is about 35°
of collimation of the incident beam of light, the uniformity
of the sensitive surface of the photo-cell, the quality of the
(log™ half angle —
1.54). The comparison between the value
of diffuse density and the density actually measured by the
incident radiation, the spectral sensitivity of the photo-cell, and
photo-cell in the projector is given in Table I. For the lower
probably numerous other considerations may have some
densities the factorial difference between the two values is
influence.
greater, which fact checks the previously reported data on
Under conditions which exist in practice, we believe these positive film.
3
For practical purposes perhaps the Callier
1
type
factors to be of small importance in comparison to the effect of relation:
of altering the angle of the cone of transmitted light which D r = 1 .3D -||-

* The integrating densitometer, 3 in which the sample to be measured in which D r is the effective reproducer density, will hold with
is placed over the window of an integrating sphere, and the most sufficient accuracy.
common type of densitometer, in which the sample is placed in contact
with a diffusing opal glass, both give values of diffuse density in Table I

agreement with each other. Relation between Difuse Density and Reproducer Density for Positive Film

Or Dw Or m
0.135 0.07 1.93
3 1 .28 1.32
60 .45 1 33
80 .62 1.25
1 .01 .78 1.29
1 20 .97 1.24
1 44 1.14 1 26

(Continued on Page 32)

 S. M. P. E. Offers Film Ratio
Suggests Ratio of 1 .8 to 1

W IDE FILM, the bugbear of producers for some time

past, was presented to the Fall meeting of the Society
of Motion Picture Engineers, held in New York,
October 20th to 23rd, and the Society, through its committee
on standards and nomenclature, added another problem to the
The color committee explained that the Photocolor system,
which had not been outlined in detail before to the society,
uses a camera which photographs a pair of images in conjunc-
tion with special taking filters and an optical system employ-
ing the split beam method of photographing. The negative
sponsors of 70, 65 and other width films by suggesting a width is printed upon a specially designed optical printer which prints

somewhere between 35 mm. and 70 mm. the two respective images in registration upon duplitized posi-

A. C. Hardy reported for the committee and stated that it

tive stock. The print is next transferred to the green process-
had become increasingly evident to the committee during its
ing room and receives the application of the blue-green compli-
deliberations that the adoption of release prints with a width
mentary dye on the side containing the image from the red
sensation negative. The print then receives the orange-red dye
in the neighborhood of 65 to 70 millimeters would be
economically impracticable for a large proportion of theatres upon the image from the green sensation negative.
and that it seemed desirable to give consideration to a film A new color process, the committee points out, is being
size intermediate between these dimensions and the present introduced from Germany. It is known as “The New Color

35 millimeters standard. “We are working on a layout that Process.” This is claimed to be usable either for motion or
will permit the use of the .8 to
1 ratio,” said Hardy, “and
1
still pictures. Mention was also made of the Herault Color
that will provide for a wider sound track and more suitable Process, in which a three-color sector wheel is rotated in front
margins. We are attempting to assign dimensions to this film of the camera and the contact print negative is dye tinted so
that will permit the most economic use of existing 35 milli- that each successive group of frames is tinted one of the
meter equipment. While the specification of the release print primary colors. The three-color positive is then projected
dimensions is the problem of most importance this committee with a continuous projector. The method is said to suppress
has under consideration a negative of such proportions that the chromatic flicker when projected at 24 frames per second;
it may be printed by optical reduction on the new intermediate only spherical lenses are used in this projector.
film size or by contact on a larger film for the de luxe houses. The Horst System of Color Photography is described as tak-
An agreement on the above plan has been reached so recently ing three pictures simultaneously with three-color filters, using
that there has been insufficient time to complete the final a prism system in the camera. In the positive, each frame
details for presentation to the Society.” carriesthree images, each corresponding to one of the color

It was pointed out that the wide film would

separation images of the negatives. This method is being
have many
obvious advantages over the present standard; such as a sound sponsored in Great Britain by Universal Productions, Ltd.
track of more satisfactory width; possibility of greater variety Another system mentioned by the committee is the Magna-
of composition and more action without exceeding a practical chrome Film.
limit of magnification. It was also declared that the com- This system gives wide film sound and color. It is an
mittee had been guided not alone by engineering principles, additive method with many of the old features utilized, but
but by consideration of the costs to the industry of a new designed to rid itself of color bombardment and color fringing.
standard. This is accomplished by having the film pass through the
The meeting was one of the most successful yet held by normal projector at the standard speed of 90 feet a minute
with, however, an intermittent movement, which operates with
this organization, with more than 300 members registered at
the meeting. No effort had been spared by the committee in an 8 sided cam instead of the usual 4 sided cam. This gives
charge of the arrangements, and the meeting was a history- 48 pictures a second of half the usual height, instead of 24
full frame pictures a second as is customary. At this speed
making event for the society.
of 48 changes a second, there is little or no color bombard-
An outstanding feature of the meeting was the reelection ment.
to the office of President of the society of J. I. Crabtree of The negatives are preferably made by the film pack system.
the Eastman Kodak Company. Mr. Crabtree’s year of office The only change in the camera is that it is fitted with a half
has been a decidedly successful one. Other officers named are: size aperture gate and the normal speed of 24 pictures a
vice-president, W. C. Hubbard; secretary, j. H. Kurlander; second insures good exposures. Other methods of making the
treasurer, Herford T. Cowling, A. S. C., of the Eastman Kodak negatives may be used.
Company and a member of the Board of Editors of the American
For the positives, the negatives which have been exposed as
Cinematographer.
above described, are printed in sequence giving on projection
Among the other highlights of the meeting were the reports a series of 48 pictures a second, with the sound at 90 feet a
of the color and studio lighting committees and a wealth of minute giving perfect reproduction. No fringing is discernible
interesting and highly instructive papers dealing with prac- as the negatives have been made in pairs. In addition to this
tically every phase of the picture industry. The lighting com- the film is tinted with alternate spaces of red and blue-green,
mittee revealed that in studios where incandescent lighting has so that after leaving the laboratory the films cannot be joined
been largely used there has been a tendency during the past or run out of color.
six months to increase the number of high intensity spots and No public demonstrations have been given although private
sun arcs for floodlighting purposes. This has been made exhibitions have brought forth econiums. As the process has
possible, the committee explains, by the efficient silencing no toning, using black and white pictures and makes use of
devices which have been installed on direct current generating process in which the problems are familiar and well worked-
equipment and the arc lamps in the studios. The committee out, the film can be introduced at low cost.
also stated that there has been considerable work done lately The above description covers much that has been done but,
on the problem of utilizing photometric measuring devices in as many changes are being made, no demonstration will be
the studios, but little progress has been made in the practical given until the Spring meeting of the Society.
application of these instruments. (Continued on Page 50)
16
 Screen Definition
by DR. L. M. DIETERICH
Consulting Engineer

HE OBJECT of this article is to acquaint the broad ranks been definitely determined, and, secondly, upon the resolving

T cameramen with facts, based upon the knowledge and

of
experience of individual cinematographers and to combine
this information with the results of optical and psychological
power of the retina which, however, has been determined.
The actual sensory perception is governed by this resolving
power, and can be most clearly expressed as follows:
research. At five inches distance, which is the shortest focus the nor-
All of these de-facto results of experience and research, mal human eye is capable of, the eye can visually separate two
points one thousandth of an inch apart.
have a distinct influence upon screen definition.
At a distance of 100 feet, therefore, the eye cannot see two
The author hopes that a study of this article by the aspir-
points, however “contrasty” they may be to their background,
ing cameraman may be of some assistance to him in his strug-
which are closer together than about one-fourth inch, as two
gleson the road to success; he found that a number of cine-
points, but as one point. In other words, details smaller than
matographers excel in the practical use and application of one
one-quarter inch cannot be seen as such at 100 feet distance.
or more of the practices herein analyzed, but that the knowl-
The human eye, therefore, sees less and less actually ex-
edge of all of them is exceptional, whereas it should be uni-
isting details the farther the object is from the eye.
versal for the best of the profession.
This maximum sharpness, however, is only produced upon
For the purpose of this study we must assume that we strive a very small central part of the retina of about 8.5 mm. diam-
to impart to the screen picture the same definition as that eter, which is called the fovea (pit), Diagram 1, where the
which we see when we look at reality. so-called “cones” or light sensitive nerve elements are directly
This assumption forces us immediately to a comparison be- exposed to the light impact and very much closer together
tween the optical characteristics of eye and lens, as far as than in other parts of the retina. Outside of this area the
definition results are concerned. “cones” are covered with a fibrous or granular layer, which
Definition as far as perceptible by the human eye when more or less absorbs the light and impairs the sharp focus.
looking either at reality or a (screen) photograph, depends This arrangement, existing only in man (and the higher forms
primarily upon the contrast between the visual elements or of apes), enables him to mentally concentrate on an object.
parts of the field or picture, on the white to black scale, in- The area of sharp sight being so small, produces the invol-
cluding all visual parts of the color (spectrum) scale. This untary scanning of an object (however small) by that minute
contrast perception is enhanced by the sharpness of the separa- pencil of sharp perception at an immeasurable speed, when we
tion between such contrasting elements. want to see more than a mere point of an object.
In the human eye the sharpness of the image depends, firstly, This necessary scanning has a peculiar influence upon the
upon the optical exactness of the lens action, which has never finally registered definition of the object or picture.

When our “sharp pencil” hits a point in the field, the eye
produces, by instantaneous accommodation, a sharp retinal im-
pression of this point. At the same instant, however, unsharp
images of adjacent points are impressed upon the retina, such
unsharpness increasing with the distance of such adjacent
points, from the focus point by reason of out-of-focus condi-
tions and reduced light transmission.
As it takes special training to be able to concentrate our
sight and attention to a single “point” only, we always per-
ceive in every-day use of our sight, by the well-known per-
sistence of vision, a composite picture of sharp and unsharp
impressions, producing that softness of a picture which has
been and is the ideal definition the cameraman strives for,
but which he has so far been able to only approach but not
reach.
The reasons why he cannot reproduce natural vision in this
respect are manifold.
Let us first consider some of the methods and means em-
ployed in modern photography which bear directly upon defi-
nition.
To be able to photograph requires primarily a photographic
lens. The performances of the first photographic lenses were
so poor, as far as balanced definition is concerned, that an
increase of lens definition has been consistently striven for, has
always been, and is today the ever receding goal of the lens
designer, computer and manufacturer.
And yet definition characteristics have today reached a state
of perfection which in many respects is unnecessarily over
refined. This may sound ridiculous but is nevertheless a fact.
Why?
Lens corrections, especially inside the central zones, have
reached such a state of perfection that the optical image, pro-
(Continued on Page 24)

17
 Eighteen AMERICAN CINEMATOGRAPHER November, 1930

Waiting for the Sunrise

r-RANKLIN COURTNEY

Hal Hall
ELLIS, of the office of Public Infor-
|~ mation of the Eastman Kodak Company, deserves honorable
mention for uniqueness of ideas along publicity lines. He writes
ye Editor to the effect that Gene Lockhart, composer of “The
World is Waiting for the Sunrise,” has just bought himself
I

says: a Cine-Kodak, and opines that perhaps now said Mr. Lockhart
will be getting out of his downy cot in the morning and
waiting to make a picture of said sunrise in Kodacolor. Oh,
Mr. Ellis! But it got the Cine-Kodak and Eastman some
Thank You! publicity, anyway! Incidentally, did you notice what Brown
HIS WRITER, who happens to be the editor of the did to Princeton the other week?
T Cinematographic Annual, which came off the press three
Mr. Sherwood
months after it was promised, is simply overcome by the many
wonderful things that his contemporaries have had to say about OBERT E. SHERWOOD, who is nationally known for his ex-
the Annual. And, if you will pardon the personal pronoun, R movie criticisms and his pointed and intelligent
cellent
I wish to take this opportunity to thank you editors of Camera, remarks anent the picture business in general, recently gave
Camera Craft, Filmo Topics, Film Daily, Variety, Film Spec- us an article in his Bell Syndicate daily column that is well
tator and all the others for your worlds of praise. Honestly, worth reprinting in any paper or magazine that deals with
we did try to produce a book that would be worthwhile and things pertaining to pictures. No comment is necessary — his
a credit to the Society which sponsored its publication, and
if wehave succeeded we feel that all is well, after all.
article, excerpts from which we print below —speaks for itself:

“In the course of a post mortem on the late and generally

My excellent board of editors and feared that perhaps
I
lamented international yacht races, a London newspaper re-
we would be severely criticised. You know that adverse criti- marked that ‘British seamanship was defeated by Yankee gad-
cism is just about the easiest thing there is. We realized that gets.’ This referred, of course, to the fact that the ‘Enterprise’
perhaps we had overlooked many features that readers might used various mechanical labor-saving devices for the speedy
want. And now to see the nice things that have been said raising and lowering of sails, whereas the ‘Shamrock’ relied
about the book is really and truly most gratifying, and we do exclusively on old-fashioned elbow grease.
thank you, and hope all those who obtain the Annual will
“Precisely the same complaint is heard whenever the sub-
be pleased and receive much benefit therefrom. Next year
—
we promise a better one and it will be out on time.
ject of American movie domination comes up for discussion in
the European press (as it frequently does) Hollywood’s posi- .

tion of leadership in the celluloid world is invariably attributed

Color
to the superiority of ‘Yankee gadgets’ the sound recording —
A FTER veritable orgy of color, in which producers and
a
art directors apparently lost all sense of balance or
good judgment, color has “taken one on the chin,’’ as they
apparatus being the greatest gadget of all.
“There is plenty of truth in this. For this development of
say the language of the prize ring. This is too bad, for
in
the purely mechanical part of film production in Hollywood
color, judiciously used, is a real asset to a picture which nat- has become one of the major miracles of history. If only some
urally calls for color. of the other departments had kept pace with this development

True . . but there is no point in indulging in depressing and fruit-

to tradition, the producers have turned away from .

less speculation.
color in just as apparently silly way as they turned to it at
the start of the great color period that has just ended. But “Some time ago, when the screen was silent, a distinguished
color will not die out. Color is here to stay, despite the fact author returned from his first trip to Hollywood and announced
that the public has been fed up on a lot of very bad color, the discovery that the cameramen there were far, far ahead
color which was splashed in just for the sake of making the of the directors, actors, scenario writers and executives in effi-
picture colorful. Three intelligent papers were read on color ciency, intelligence, and general desirability. He didn’t have
at the recent S. M. P. E. meeting in New York, and a few to go to Hollywood to make this discovery. He could have
producers are wisely figuring out that, if intelligently used, attained it by visiting any movie theatre and looking at the
color will enhance a picture that calls for it. Take, for in- results of Hollywood’s labors.
stance, the Eddie Cantor picture, “Whoopee.” There is an “Now the cameraman co-operates with another kind of
example of what can be done with color if it is used wisely
and the proper care taken in the making of the prints. Von
technician —
the sound man and he, too, has gone far —
ahead of the rest of the procession. If one-tenth of the
Stroheim returned from abroad the other day, and had scarcely genius that he expends in the manipulation of his compli-
set foot on shore when he declared that color is needed in the cated apparatus could be diverted and used in the prepara-
ideal picture. His objection to color in the past has been that tion of stories but again I’m wandering off into
.
. .

it has been unnatural. If a real three-color process can be Utopia.

developed and the producers can be influenced to use color “There has been much talk lately of the dreadful mechanical
only where it is called for, the future of color should be bright. Robot that is ruining Art in our modern civilization. Our finer
aesthetic sensibilities, we are told, are being mangled in the
Widies vs Pictures ruthless cog-wheels of the Machine Age.
HE WRITER not a big producer, or anything like that.
is “Insofar as Hollywood concerned, however, the
T But —he back during these days of discussion of wide
sits
is

Robot, the Spirit of the Gadget, that most nearly approaches

it is

film, colorand the like and wonders why a few more of the that goal of perfection toward which all art strives.
producers do not concentrate on the business of giving the “How often do we see pictures in which the technical qual-
dear public some PICTURES. Maybe said writer is all wet, ities — the photography, sound reproduction, mechanical effects
as they say in the language of the street. But a few more
good pictures would surely be much more comfortable both
— are inferior to the flesh, the blood and the grey matter?
Almost never. For an excellent example of just what I mean,
to the public and the box offices than so much discussion of have a look at ‘Hell’s Angels.’
whether they are to be on 50, 56, 65 or 70 millimeter film. “Thereone thing seriously lacking in the Robot, and
is
We believe in advancement, of course. But while the scientific that is pride. He should be equipped with it at once, so that
geniuses are figuring out the wide film problem, why not have he will be able to stand on it and refuse to reproduce the
a few good pictures on 35 millimeter film! drivel that is fed to him by the creative minds of Hollywood.”
 T

November, 1 930 AMERICAN CINEMATOGRAPHER Nineteen

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 A Letter from Hollywood
The Only Town Where Men Eat Off Their Beards

by JOE DOAKES
Illustrated by Bill Tara

M
Dear John:
R.
2945 Doe
JOHN DOE.

Pittsburgh, Penn.

promised to write you as soon as

I
Street,

reached Hollywood and I

don’t eat off them they just don’t eat, and that’s a fact.
I

use them for table cloths.

eats.
House of
I

David
Colony, honest, John.
I
No,
don’t mean that they lay their beards out on the table and
mean that the beards furnish the
I

When first arrived here thought had landed in a

walked down by I
I

had got myself settled in a good job in one of the studios. Warner Brothers Studio the second day was here, and itI

Well, have
I been here four months, now, and am not settled looked as though a half dozen of those David bearded ball teams
were getting ready for a convention. Lined up by the curb
yet. Some how or other, you can’t get by the tough guys at
these studio gates. They don’t were several dozen of the fun-
recognize talent and brains niest looking fellows. Long
when it comes right up in front beards, short beards, bushy
am still on the beards, French beards, Russian
of them, so I

outside, but am determined. beards, Spanish beards, Egyp-

Now, as to Hollywood. tian beards some looking as —

Well, I don’t know where to though they had been all night

a great town, in the gutter; others looking

start. It is
as though they had just come
John. Big stars seem to figure
that the best outdoor sport is
from the cleaner.
trying to run down pedestrians
was curious about so
I

with lavender colored, high-

much hair on the face, for you
powered autos. And when know we all used to shave on
our street back home, and if
they miss you and you yell at
a man didn’t shave he was
them they seem to take of-
They are funny that accused of being out the night
fense.
before breaking the prohibi-
way. So far, they have all
missed me, but am afraid I
tion act. Not so here, how-
that they are getting the
ever, I found out. You see,
it is the only town in the
range, and if they do, don’t
bother sending me any flow-
world where men eat off their

won’t know they beards. And by that I mean

ers, for I

that these guys find they can’t

have arrived. Anyhow,
get by the gates on brains and
understand that whoever hits
ability, sothey let the whisk-
you out here sends you all the
ers grow and when they get
flowers you need.
another funny enough to hide their identity
There is
they walk into the casting of-
thing out here. It is a group
fice, wave the beards and say,
of men who eat off their
beards. I’m not fooling, John.
"Any Russian pictures today?”

They sure do, and when they Some need to go to the cleaner
(Continued on Page 50)
November, 1 930 AMERICAN CINEMATOGRAPHER Twenty-one

WONDER WHAT —
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Twenty-two AMERICAN CINEMATOGRAPHER November, 1930

are ignored in favor of a strong concentration of focus in the

Color Correction
region of the bright Red, the Yellow and the bright Green
(Continued from Page 1 1 )

which colors are the most with the naked eye.

visible

FOCUSING DISTANCES The graphs and 2 show the relation between

at Figures 1

wave length, measured and focusing distance,

vertically,
measured horizontally, for both cases, since the dimensions
involved are extremely small, in order to present them in a
legible manner, the drawings have been traced schematically
and the magnitude of the errors has been magnified. Also
the conditions illustrated in the figure have been exaggerated
and would not be met in practice in telescopic lenses, though
Figure 2 illustrates the correct color distribution for a pro-
jection lens such as used in cinematography.
In Figure 1, the small departure of the curve at the lower
end from the dotted vertical means that in this region the
blues and blue-green rays are strongly concentrated in, or near
the focal plane, and this is the position which practical tests
would reveal as the plane for the best focus.
Figure 2 shows that the curve, though presenting the same
characteristics as that in Figure has been rotated to a different
1 ,

position, through appropriate and relatively simple modifica-

tions in the design of the objective. These optical modifications
result in rolling the curve of the secondary spectrum along
the vertical line without changing the curvature which is fixed
by the abnormal refraction of glass.

The objective so constructed and the characteristics of which

are shown in Figure 2, answers the requirements of visual obser-
vation, but could not be used for photographic purposes with
the sensitive photographic materials. Red sensitive and pan-
chromatic emulsions could only be used if their actinicity to
the blues is arrested by use of appropriate filters which would
necessitate such an increase of exposure to render their use
more impractical than the making of special objective for
each purpose.
Now, it is quite logical to suppose that there is some inter-
mediate position within these two extremes, where the
secondary spectrum curve is not leaning forward as in Figure
dimensions involved the secondary 1 or backward as in Figure 2 and this is the compromise photo-
FIC. 5. Illustrating the in
spectrum curve. visual position which would be adopted if attempts were made
to make the long focus telescopic objectives have coincident
visual and photographic focus. The curve would then be rolled
the optician would need pieces of Fluorite one-half inch thick so that it would occupy the position shown at Figure 4, which
and 1
%"
in diameter, which pieces are absolutely unobtainable. represents the nearest possible compromise to this condition.
The designer of high speed lenses for the cinematographic The great focal length of telescopic objectives precludes,
camera has to provide reasonable definition over a wide range however, the practical application of this compromise because
of the spectrum and the only materials he can use are known the secondary spectrum errors are so large that extremely
to be incapable of giving perfect results. His task is there- complex constructions are necessary to go only some way
fore to find some compromise which will give the required toward improving this defect.
speed without making the secondary spectrum effect intolerably It is for this reason and because the secondary spectrum can-
large. not be accurately corrected that the largest telescopes are
An excellent of the method of compromise
illustration always of the reflecting type.
usually adopted to be found in the large refracting telescopes
is Photographic objectives as used for Cinematography, mainly
as used by astronomers. On account of the long focal lengths differ from the telescopic objectives in that their focal length
involved, which may be anything from 15 to 50 feet, the is much shorter and since the reduction scale proportionately
secondary spectrum effects in such lenses are very large, and reduces the actual magnitude of the chromatic errors, it is
the best compromise is to be found by bringing to the same possible to construct them so that they will be found acceptable,
focus two rays of colored light lying at close proximity to each while following the same principles of design as heretofore
other. Since photographic emulsions can be made which are expressed.
sensitive to the blue and blue-green rays and are not affected In pre-panchromatic days when the use of ordinary and

by the yellows and reds, the spherical aberration for these orthochromatic films was prevalent, a lens so designed that
lenses is corrected for the blue end of the spectrum only and the secondary spectrum curve would be as illustrated in Figure
the foci of the blue and the blue-green rays are made to 3, which is the D G curve almost universally adopted by
coincide. opticians, was found satisfactory and it was indeed the best
It results quite evident that since the visibility of the human compromise obtainable, because of the lack of sensitivity of
eye is most keen for the yellow region of the spectrum,
any the photographic emulsions for the red rays and because of
attempt to focus such lenses visually, would result in utter the quality of light used which was either unfiltered daylight
failure in obtaining sharp pictures. The photographic focus or white-flame arcs.
is therefore found by trial exposures and once found is But with the advent of Panchromatic films and the increased
permanently located. use of sources of light rich in red radiations, the long focus
This is to be contrasted with the telescope of similar dimen- of the red light gave the well known lack of sharpness which
In this case, the is quite disturbing in all cases and decidedly detrimental in
sions intended only for visual observation.
actinic rays of the Blue and Blue-Green regions of the spectrum most of them.
November, 1 930 AMERICAN CINEMATOGRAPHER Twenty-three

HIEF Cameraman Edward Snyder, A. S. C., and his crew gather at the only wet spot in the middle of the
C Painted Desert for a quaff or two during the filming of “The Painted Desert” in Arizona.
Helen Twelvetrees are featured in this new Pathe special.
Bill Boyd and

Mr. A. Warmisham, Optical Director of Taylor-Taylor- One reason for this difference in the computation of the
Hobson, of England, makers of the famous “Cooke” lenses, magnitude of the error is also shown in Figure 5. The
was among the first to take a personal and progressive interest secondary spectrum curve has been plotted as focusing dis-
in the possibilities of improving the design of lenses for cinema- tances against wave lengths stepped off at equal intervals.
tographic work under the new conditions created by the These, projected onto the horizontal, plainly show that the
stabilizing of the use of Panchromatic films and incandescent illumination is much more concentrated at the left hand end
lighting. of the focusing distances making it quite feasible that the un-
The result of his investigation personally conducted in the certainty of focus is confined between 0 and .001" rather
Hollywood and New York production fields has been the than between 0 and .003".
designing of lenses the secondary spectrum curve of which
In addition to the visual measurements of color correction
has been rolled over as shown in Figure 4, that is to say, lenses
taken through the use of the color testing optical bench, each
which bring to the same focal plane the blue rays of the line lens is tested photographically in the following manner:
G and the reds of the line C and which through a remarkable
correction of all other aberrations outside of the chromatic
A piece of white board
is ruled with equidistant black lines.

This board is set in front of the lens to

be tested, at an angle
are extremely suitable for photographing with filtered or un-
of 45° and photographed on panchromatic film, illuminating
is
filtered daylight or with arc or incandescent lights as well.
it first with incandescent lights, second with white-flame
These lenses, which have been appropriately named “Speed
carbon arcs and third, with mercury-arcs. The object is focused
Panchros,” present the best compromise which can be reached
visually and after processing, the film is carefully examined to
today in correcting the chromatic aberrations.
ascertain if the lines which present perfect definition coincide
In order to illustrate the dimensions involved, we may men-
in each of the three tests.
tion that the depth of the arc illustrated in Figure 4, between
the lines C and G on a 3" F 2. Speed Panchro lens, is three
thousandths of an inch. This does not mean, however, that
there is an uncertainty in the placing of the focal plane of
that amount. This figure is obtained by critically measuring
the differences in focal length on a color testing bench
Catholic Film Congress
especially designed for the purpose and which disregards the HE THIRD French Catholic Film Congress will be held in
limited resolving power of the eye as well as that of the
photographic emulsions. In actual practice the uncertainty of
T Paris from November 4, to 6, inclusive, under the presi-
dency of Cardinal Verdier. Among the questions to be dis-
focus is shown by photographic tests, to be somewhat less cussed at this Congress are “the talking picture,” and “the
than one thousandth of an inch. child in the motion picture theatre.”
Twenty-four AMERICAN CINEMATOGRAPHER November, 1 930

Dupont Announces New Fire-Resistant Screen Definition

Material for Motion Picture Screens (Continued from Page 17)
duced by a well corrected lens has a sharpness or degree of
detail reproduction (lens definition) which is far above the
resolving power of the best commercially available motion
picture film emulsion of about 40 lines to the
negative
millimeter. The higher resolving power of best positive emul-
sions up to 75 lines per mm. does of course not influence
original detail registration and becomes of value only when
certain methods of optical printing are resorted to, beneficially
influencing grain conditions in magnified projection.
The image sharpness (definition) is therefore limited only
by the resolving power of the negative emulsion, i. e. 40 lines
per mm.
The image sharpness of the lens system of the human eye
has not been definitely established, and is in a normal structure
probably also higher than the resolving power of the retina.
This resolving power is about ten times as great as that
of the film emulsion or produces an image of ten times better
definition than motion picture
a equipment. BUT — this is

only the case at the fovea and for a

lens angle of about one-half
minute.
The above described involuntary scanning action, out-of-
focus and illumination (contrast) conditions combined with
the lag of nerve reaction, commonly called “persistence of
vision” —
invariably produces a composite image of every de-
tail which is not only far below the central resolving power
of retina, but also surprisingly below the actually registered
film definition for any in-focus detail.
The softness of each point of the retinal picture, however, is
a composition of sharp and variously unsharp impressions.
The picture of an object produced by a modern photo-
graphic lens on the other hand is either sharp or unsharp and
never has the characteristic of the superimposition of sharp
and unsharp elements.
When it is sharp or in absolute focus, it is of so called wire-
sharpness, which is especially observable in close ups, may they
be produced by short or long focus lenses. This wiresharpness
is not pleasant to observe, because it is contrary to natural
vision of reality. The greater the magnification produced by the
lens, the more unpleasant the picture becomes, because it

O
tion.
NE OF THE MOST
month comes from the
It is
important announcements of the past
offices of the DuPont organiza-
to the effect that this company has brought to per-
shows even to the scanning eye more details than it can observe
in nature.
It may at this point be mentioned that the cameraman
fection a new material for makingmotion pic-
fire-resistant
ture screens. DuPont research chemists have been working for ought to realize that in artistic reproduction of nature, the

a long time to perfect this material, and the company can be

realistic representation of the pictorial or dramatic character-

justly proud of its accomplishment. One of the constant fears

istics of the object is of fundamental importance, and that such
of theatre owners is fire. These men have long been demand- characteristics are lost if too many details are clearly shown

ing a fire-resistant screen material. (wiresharpness) There is a scale of characteristics from broad,
.

dominant contrasting surfaces down to details, losing their

This material has been subjected to the most rigorous tests
artistic value the lower down they are on the scale.
in the company’s laboratories and by the National Fire Un-
derwriters Two of these tests are pictured above. The Board
of Underwriters gave the following in its report on the ma-
terial :

“The product in single sheets as used in theatres will not

burn or propagate flame beyond the area exposed to the source
of ignition. The product in compact form can be ignited with
difficulty resulting in smoldering (flameless) combustion.

“The product is relatively stable and is not liable to undergo Diagram No. 2
decomposition or change resulting in an increase in hazard.
Inphotography these characteristics are governed by con-
“Tests of the product which has been subjected to aging
trast. It is the art in photography and it is the artistic skill of
tests did notshow any change with respect to combustibility.”
the cinematographer to produce the proper balance between
Aside from the all-important fire-resistant feature, this new, contrast and definition, by control or selection of “lighting”
approved motion picture screen material also has the advantages and by lens control in order to approach as closely as possible
of a matte finish, which gives a highly uniform degree of re-
such balance as the human eye produces.
flection, and a construction which permits of easy and clean
Diagram 2 shows within the limitations of a line drawing
perforation for sound projection.
the effect of contrast upon definition. Column A shows 5
• characteristic wiresharp with the greatest possible con-
lines
trast of background. Columns B, C and D show the same
Experience is the world’s best school “marm.” The CINEMATOGRAPHIC

ANNUAL was written only by those who graduated from her school. (Continued on Page 28)
ANNOUNCEMENT EXTRAORDINARY
HE Moreno-Snyder Cine Corporation, COLOR PHOTOGRAPHY. The increased

T Ltd., will, the very near future,

in
offer to the motion picture industry,
to organizations, theatres and indi-
exposure time for standard film speed
offers great advantages for any system of
color photography.
viduals, commercial and amateur
motion cameras and projectors of the
DEPTH OF FOCUS. Another desirable
CONTINUOUS TYPE — free of the shutter
characteristic of the M. S. Camera is the

and intermittent movement —

with all the
fact that a greater depth of focus is ob-
tained for any definite setting of any
advantages possessed by such cameras and
standard lens.
projectors.
Some of these outstanding advantages FOCUSING DEVICE. The change of camera
are: from focusing (finder) position to expos-
ure position does not move any heavy part
CONTINUOUS. The film passes through of the camera; but is effected by the jar-
the camera at continuously uniform speed
less and practically resistless moving of a
with no intermittent motion on either the small lever for about VV'. The photo-
film or any moving part of the camera.
graphic lens and the film are untouched,
NOISELESS. This fundamental kinematic therefore, no movement of any kind is
which is
characteristic permits of a design required.
noiseless in operation. CONVENIENCE. The M. S. Camera is very
EXPOSURE TIME. At much lighter than any standard camera,
the now standard
intermittent film speed of 90 feet per
making it especially desirable for news
work.
minute the exposure time per picture
frame is 1 48 seconds. With the M. S. ECONOMY. The extreme simplicity of
Camera, and at a continuous film speed of this camera design lowers its cost.
90 feet per minute the exposure time per MAGAZINES. Delivery and windup film
picture frame is about twice as long or magazines are separate from each other,
1 24 seconds. permitting about 50% reduction in weight
Result:Standard exposure with M. S. and bulk of handling of camera film supply.
camera obtained by about 50% of now
is
PROJECTORS. Moreno-Snyder projectors
necessary standard illumination or of
possess equal advantages to our cameras.
working lens aperture, thereby increasing The flicker is absolutely eliminated; less
photographic values of picture. danger of fire, since the amount of light
SLOW MOTION. This camera is without is cut in half; systems of colors can be

any necessary change of adjustment a easily used; weight cut 2/3 and volume
silent "slow motion" camera up to a film greatly reduced.
speed of about 300 frames per second or ( It is well to note that film made by this
1 125 feet per minute.
camera may be run on any intermittent
projector.)
SOUND RECORDING. On account of the
continuously uniform progress of the film Those interested in the Moreno-Snyder
synchronized sound recording can be ef- cameras and projectors, both professional
fected at the corresponding picture frames and amateur models, will take note that
and not a predetermined distance there- conversations regarding these instruments
from —another decided advantage over and machines may be arranged for by mail,
present standard practices for sound on to take place after the first of November,
film methods. 1930.

MORENO-SNYDER CINE CORPORATION, LTD.

6250 Santa Monica Blvd. Hollywood, California
Please mention the American Cinematographer when writing advertisers.
25
Twenty-six AMERICAN CINEMATOGRAPHER November, 1930

Get On the Band Wagon

WE WISH TO ANNOUNCE that in addition to the
HE Boothe Company Aluminum contest in which $200 in
Dunning Process patents controlled and operated by
we have acquired an exclusive license to all
us,
“Trans- T cash prizes will be awarded for the three most original
and useful devices for use in connection with the motion
parency” patents owned by PARAMOUNT PUBLIX
CORP. and ROY J. POMEROY. picture industry —
and which must be made from aluminum or
an aluminum alloy, is rapidly taking hold among the mechan-
A few current releases containing Dunning Shots ical men of Hollywood.

“WHAT A WIDOW” — Gloria Swanson There is still a lot of time for the rest of you mechanical
“ON THE LEVEL” — Fox wizards to get started and catch up, and lead the field in at
“SOUP TO NUTS” — Fox the home stretch. If you have had an idea floating around in
“HER MAN”— Pathe the back of your head for some time regarding some particular
“ROMANCE”— M-C-M device that could be made lighter and stronger if made of
“HALF SHOT AT SUNRISE”— R-K-0 aluminum or an aluminum alloy, get busy and make a model
“WOMEN EVERYWHERE”— Fox and join the crowd who are working hard right now on models

“LEATHERNECKINC” R-K-0— for this contest.

—
“MADAME DUBARRY” United Artists There are many men in the studios who should be able to

—
“HOLIDAY” Pathe
cash in on this contest.
city of
But —
you amateurs away from the
motion pictures have an equally good chance. Put that
—
“THE LOTTERY BRIDE” United Artists
idea into being right now. $100 for first award; $60 for
“BORN RECKLESS” Fox — second, and $40 for third are the prizes. And there could be
no easier or pleasanter way to pick up that amount of money

DUNNING than by enjoying yourself making a model that, in addition

to winning a prize, might lead you into realms that you would
never dream of. This is your opportunity to get your idea in

DDCCESS the public eye. Some men

of manufacturers after they have
try for years to get the attention
worked out some new device.

CCMDANy “You Shoot Today — Screen Tomorrow”

Now you are invited to bring in your devices, and if they are
good get paid for them. The contest has three more months
to run. Let us hear from you, and if you have any questions
to ask, send them to the Boothe Company, whose address is
on the opposite page, or send them to the office of the Amer-
ican Cinematographer.
Telephone GLadstone 3959
932 No. LaBrea Ave., Hollywood, Calif. •
Efficiency is the Keynote of Success; Knowledge is the foundation for
both; the CINEMATOGRAPHIC ANNUAL is your textbook of Knowledge.

COMPLETE PORTABLE SOUND EQUIPMENT

AUDIO -CAMEX RECORDER

Using the Audio-Lite;

Use Any Camera by Using our D. C. Synchronous Motors Operated by “B” Batteries

For Further Information Write, Wire or Cable

HOLLYWOOD CAMERA EXCHANGE North Cahuenga Boulevard

1511
Phone HO-9431 Hollywood, California Cable Address: HOCAMEX
 THE BOOTHE COMPANY
Aluminum Contest
$200 in Cash Prizes
Here they are . . . those judges who will determine your skill in the BOOTHE COMPANY’S
ALUMINUM CONTEST now being conducted through this magazine . . .

Mr. I. J. Boothe, president of the Boothe Company; Hal Mohr, president American Society
of Cinematographers; William Johnson, chief electrical engineer, R-K-0 Studios; John Arnold,
Chief of M-C-M’s camera department; and Hal Hall, editor of the A. S. C. magazine . . .!

IF YOU HAVEN’T ENTERED ... do so NOW and win one of those three big cash
prizes . . . also if your model is accepted, which probably it will be by some industrial firm . . .

win world-wide fame and a lot more money . . .

There are hundreds of new uses today for aluminum in the motion picture industry. Intro-
duce ONE of them and you’re MADE . . .

Read the rules below and

LET’S CO !

RULES OF CONTEST
1. —
The BOOTHE COMPANY, ALUMINUM MODEL CASH PRIZE CONTEST begins with this issue of the AMERICAN CINEMATOG-
RAPHER and ends at midnight of January 15th, 1931. Winners’ names will be announced in the February number of this magazine.
It is not necessary to be a subscriber to this periodical in order to compete.

2. — — —
Cash awards of $100 $60 and $40 representing first, second and third prizes will be given by BOOTHE COMPANY to the
three contestants whose models, in the opinion of the judges are considered best adapted to practical and beneficial use in the pro-
duction of motion pictures. Contestants, in case of a tie, will receive like awards.

3. Anyone associated with motion picture work may compete —

amateurs as well as professionals. This also means all motion picture
studio or motion picture theatre employees, or any organization whose products are used in motion picture work, except those in
any way associated with the BOOTHE COMPANY or any other organization handling aluminum or aluminum alloys.

4. The judges, whose names are announced in this issue of the AMERICAN CINEMATOGRAPHER, are representatives of various
branches of the motion picture industry. Their decision will be final.

5. Two photographs, a front and side view, with a description of the completed product, must be sent to “The BOOTHE COMPANY
ALUMINUM CONTEST Editor,” 1222 Cuaranty Building, Hollywood, on or before January 15th, 1931. Be sure that this is accom-
panied by your name and address. No communications regarding this contest will be answered, unless accompanied by a self-
addressed, stamped envelope. In no instance shall entries be sent until such request is made by the judges. Products must be
made from aluminum or aluminum alloys. They may be wholly of aluminum or aluminum alloys, or may represent not less than
seventy-five percent of these metals by weight. They may represent in their entirety a product useful to the motion picture
industry, or may be a part, attachment or accessory to be used on some apparatus, machine or structure now employed.

27
Twenty-eight AMERICAN CINEMATOGRAPHER November, 1930

Screen Definition
(Continued from Page 24)

When you need definition of the five lines, but a gradually decreasing contrast
of background. It is clearly seen how the significant relative

engraving you form, characteristic of these five wiresharp lines, is gradually

destroyed by lack of contrast.

need the BEST! The skilled cinematographer is well aware of these condi-
tions and he has at present for their control, three technical
elements at his disposition.

. . You GET it at the 1. Lighting or selection of illumination is of prime import-

ance, because it is of the greatest influence upon

2. Contrast, which, however, is also influenced by

Superior 3. Lens definition.

Illumination, he has pretty well under control, but defini-
tion only partly.
As far as lens action is concerned, the picture is either in

ENGRAVING focus or out of focus, or in other words it is either wire-

sharp or “fuzzy.” Trying to eliminate wiresharpness by focus
control simply shifts the attention from the main object, there-

• COMPANY by destroying the dramatic qualities of the picture. Lens manu-

facturers, realizing
duce so called soft
these
lenses,
conditions, endeavored to pro-
which, however, are only of very
limited satisfactory application, because the degree of softness
Zinc Etchings or sharpness cannot be quickly changed without destroying
Copper and Zinc Half-Tones the all important depth of focus or its proper placement in

the field.
Color Work Designing There is another optical means, the optical engineer has
Electrotypes furnished to the cameraman —
the diffusion disc.
There are very few optically correct diffusion discs. Gener-
Mats, etc. ally they produce not an even softening of the picture over
the whole field as excelled in by the human eye and approx-
1606 Cahuenga Avenue Telephone HE 8149 imated by so-called soft lenses, but place in the picture, more

HOLLYWOOD, CALIFORNIA means en-

or less overlapping spots or areas of distortions, by no
hancing the photographic quality of the picture. They are,
nevertheless, better means of preventing wiresharpness of
the main object, simply because so called diffusion does not
influence depth of focus nor does it shift the center of attrac-
Art Reeves Phone tion.

Cliff Thomas HCIlywood 9431 It must furthermore be realized that the scanning action of
the human eye maintains by its instant accommodation or
focus change a balance of definition over the whole width and

Hollywood depth of the field, thereby producing a composite nerve image

which we are used to, which we call natural vision of reality
and which we expect to see on the screen. Plainly expressed,
we want to see on the screen an even, soft definition of all
objects in the field, wherever they are located in the width of

CAMERA Exchange the picture or in apparent distance.

All modern motion picture equipment, however up-to-date,
only produces screen pictures, the definition of which is un-
even or unbalanced or unnatural.

Tlie Clearing House The illusion of natural balance of definition can only be
approximated, because the cameraman’s equipment can neither

for Cameramen produce a picture composed of sharp and unsharp definition

of details, nor a naturally balanced definition for all visible
object distances.
Mitchell and Bell & Howells FOR RENT In scanning a motion picture image there is no possibility of
improving an out of focus picture element by accomodation,
Cameras and Projectors and and the softening effect of such scanning action cannot pro-
Accessories bought and sold duce such total balance we are used to in contemplation of
reality.

Commercial Photography So far only lens definition, resolving power of film emulsion
and illumination contrasts have been partly analyzed in their
influence upon screen definition.
Kodak Supplies Still Finishing
Afurther analysis on hand of test photographs and the con-
16 mm., 35 mm. Developed and Printed sideration of a number of other factors, influencing retinal
and screen definition will follow in future articles.

Ed. Note: This is the first of a series of articles by Dr. Dieterich.

1511 N. Cahuenga Blvd. Watch for the next one in the December issue.
HOLLYWOOD, CALIFORNIA •
Cable Address: Hocamex For Authentic Information Read the Annual!
Order Your Annual NOW!
November, 1 930 AMERICAN CINEMATOGRAPHER Twenty-nine

New

F
Sound System Features Magnetic
Record on Celluloid Film
OR the past five decades there has continually been a con-
siderable amount of research work carried on in the field of
sound recording, but since the advent of the talking picture,
MOVIOLA FILM VIEWING AND SOUND
this activity has greatly increased and broadened. As far as
motion picture phonography is concerned, two main courses
REPRODUCING MACHINES
of experiment have been pursued. The first of these is the FOR USE WITH: SEPARATE
obvious one of improving the existing methods and apparatus;
the second is that of devising new systems which may be free PICTURE FILM AND SOUND
from the many admitted failings of the accepted film and disc FILM, COMPOSITE FILM AND
processes.
Two of the newer, experimental methods which have re- SOUND ON DISC RECORD.
ceived the most attention have been those which recorded the
FOR EDITING 35 MM. FILM,
sound by means of varying magnetic charges upon a steel wire
or ribbon (as in the Still Process), and those which sought 16 MM. FILM, WIDE FILM.
to engrave a sound record in the body of the celluloid film
upon which the picture is photographed (as in the newly an-
nounced Spoor Process.)
From our French contemporary, LE CINEOPSE, we learn that
Write for Circulars Describ-
a new process has been developed, which combines these two
ing the Different Models
recording methods. LE CINEOPSE describes this process as
follows:

MOVIOLA COMPANY
1451 CORDON STREET HOLLYWOOD, CALIFORNIA

l-ig.2 the new principle of this apparatus, the photo-electric cell is

entirely done away with, and with it, naturally, all its numerous
inconveniences. It the more or less conventional
utilizes in
manner, a moveable shank of magnetic metal, placed in a field
such that, proportionally with the movement of the film, upon
which is a phonographic groove of magnetic properties, the
shank follows the recorded vibrations, as it invariably follows
the path of least resistance to the magnetic circuit, and this
without any friction upon the film-record. The superiority of
such a system is evident. The phonographic groove of the
film passing at normal speed between an electromagnet and
FIG. 1. Schematic diagram of Nublat magnetic reproducer. 1. Magnetic
a shank which transmits the sounds to the pick-up, thence to
metal shank which picks up the sound vibrations. 1-a. The end of
the shank remaining at all times at a distance sufficient to permit the the amplifiers, and loud-speakers, explains a purity of tone
passage of the film without friction, and consequently without wear.
superior to that of the best disc recordings, due to the elimi-
2. Non-magnetic housing. 3. Second shank modifying the strength
and direction of the current flowing through the coil (8). 4. Rubber nation of all friction, and therefore of all surface-noise. This
blocks. 5. Electromagnet. 6, 7. Film, and phonographic groove. 8.
also means the absolute elimination of the photo-electric cell,
Coil influenced by the magnetic current which induces an electromag-
netic current modulated according to the phonographic record. of its exciting-battery, lamps, etc., of the maintenance of these
9. Amplifier. 10. Loudspeaker.
invariably delicate units, and their high first cost.
FIC. 2. Line drawing of Nublat sound-on-film recording, showing (6),
the phonographic record formed by a deposit of magnetic material “Undoubtedly, if such a system as this is successful, it will
incrusted in the film. prove of considerable importance in not only the fields of
theatrical production and exhibition, but particularly in the
“A new method of recording and reproducing sound, said
industrial and home-talkie fields as well.”
to be of the greatest resonance, has just been developed by a
Frenchman, M. Nublat, and a company for its exploitation has
been incorporated with a capitalization of several million
francs.
“M. Nublat has completely changed the old methods of Smallest Talkie House
sound-on-film recording, to the great advantage of the C. PEARSON of the Northern Electric Company, which is
exhibitor, who will no longer have to pay the heavy tribute
exacted by the monopolies controlling the recording processes
L
Systems
the Canadian offspring distributing Western Electric Sound
the Dominion, receives credit for bringing in a con-
in

now in use. what is believed to be the smallest

tract for an installation in
“The recorder is of such simplicity that its operation cannot theatre in the world. The house is the Crescent at Temiskam-
be in any way interfered with, and its installation in the studio ing, Quebec, and seats 240. It is patronized almost entirely by
will be no more expensive than the cost of a first-class camera. employees of a pulp and paper company whose plant is located
“The reproducer is likewise of astonishing simplicity. In there.
 The

BOOK of KNOWLEDGE
for EVERYBODY d irectly or indirectly interested in the

MOTION PICTURE INDUSTRY

PRODUCTION . . PHOTOGRAPHY. . EXHIBITION . . LABORATORY
. . SOUND . . COLOR EFFECTS. A Wealth of Facts and Statistics Offering

Simple Information and Technical Explanations :: :: :: :: :: ::

Forcefully Written byMasterTechni-

cians and Recognized Authorities . .

Presented in Terms, Pictures and Language

CINEMATOGRAPHIC Everyone Understands :: :: ::

The
:
Y " WU'

>
Cinematographic

Has
ANNUAL
a definite place in the Library of all Production and Distribu-
tion Executives, Directors, Writers, Technicians, Sound and Lighting
Engineers, Editors, Photographers, Laboratory Directors and
Home Movie Makers.

>U9U5.l£5 BY
SOOITY

C^lAXOeB,VPtt£RS
•
^ 3 ; Ft*

per copy
Bound in Blue and Cold. 675 Pages.
Postage Prepaid Anywhere in the World.

Compiled and Published by

The AMERICAN SOCIETY OF CINEMATOGRAPHERS

Hollywood, California
OBEY THAT IMPULSE - - CUT OUT AND MAIL TODAY

AMERICAN SOCIETY OF CINEMATOGRAPHERS,

1222 Guaranty Building, Hollywood, California.

Gentlemen: Enclosed please find check (or money order) for Five Dollars ($5.00) for which
please send me prepaid, one copy of your Cinematographic Annual.

Name Address

City. . State.
g

7M<?n

October
sixth
1930

The American Society of Cinematographers,

Suite 1222 Guaranty Building,
Hollywood, California.

Gentlemen:

It gives me a great deal of pleasure to acknowledge

the receipt of the Cinematographic Annual for
1930, and to thank you for your courtesy in
complimenting me with this copy.

I have enjoyed looking through the book ai

greatly interested in its contgatrST^” Allow
to congratulate you on sucj^a ffne productioi

Your

Ediphoned-^
 .

Thirty-two AMERICAN CINEMATOGRAPHER November, 1930

Measurement of Density

WILLIAMS’ (Continued from Page 15)

Conclusion

SHOTS data in
We
matters of interest.
shallnot attempt to discuss the significance of these
any detail, but wish only to point out one or two

A factorial difference in density determination results in a

factorial difference in gamma. If the reproducer measures a

Will give you the results you need. We have gamma value 1.3 times higher than that determined by sensi-
the largest laboratory devoted to Composite tometric methods employing diffuse densitometry, an audible
Cinematography in Hollywood. harmonic may be introduced.
Any background, either real scenes or miniature, Some other factor, such as reciprocity failure which makes
may be used. Scenes may be corrected the sensitometrically determined gamma higher than the nega-
without retakes. tive sound track gamma, may partially or completely compen-
Let us handle your intricate shots, your most sate for the effect of higher sound projection gamma.
dangerous, spectacular and hazardous scenes. A second effect resulting from higher projection gamma is
Let us cooperate and plan with you, whether a change in the shape of the toe of the H & D characteristic.
for a sequence or one scene.
The toe of the characteristic curve which is effective in the
Call Frank Williams for an Appointment semi-specular reproducer system will be shorter than that of
the curve determined by the diffuse densitometer.
Composite Laboratories References
8111 Santa Monica Blvd. 'CALLIER, A.: “The Absorption and Scatter of Light by Photo-
Tel. OXford 1611 graphic Negatives, Measured by Means of the Martens Polarization
Photometer,” Phot. J. 49 (n. s. 33 (1909), p. 200. )

2 BLOCH, O., and RENWICK, F.

F.: “The Opacity of Diffusing Media,”
Phot. J., 56 (n. s. 40 (1916), p. 49. )

TUTTLE, C. “The Relation between Diffuse and Specular Density,”

WILLIAMS’ SHOTS J.

ular
Optical Soc. Amer., 12
:

(June, 1926),
SILBERSTEIN, L., and TUTTLE, C.: “The Relation between the Spec-
4

and Diffuse Photographic Densities,” J. Optical Soc. Amer., 14

p. 559.

(May, 927 p. 365.

1 ) ,

3 MacKENZIE,
DONALD: “Sound Recording wth the Light Valve,”
Trans. Soc. Mot. Piet. Eng., XII (1928), No. 35, p. 730.

# A
8
JONES, L. A., and SANDVIK, O.: “Photographic Characteristics of
New Color Film System 0 Sound Recording Film,” J. Soc. Mot. Piet. Eng., XIV (February, 1930),
p. 180.
Extraordinary simplicity in take and projec- 7
WATKINS, S. S., and FETTER, C. H.: "Some Aspects of a Western
Electric Sound Recording System," J. Soc. Mot. Piet. Eng., XIV (May,
tion, 1930), 520. p.

Natural color pictures in a new purely mechan- BULL, A. J., and CARTWRIGHT, H.: “The Measurement of Photo-
8

graphic Density,” J. Sci. Instruments, 1 (1923-4), p. 74.

ical way. Patent rights to sell. “CAPSTAFF, j., and PURDY, R.: “A Compact Motion Picture Densi-
lometer,” Trans. Soc. Mot. Piet. Eng., XI 0928), No. 31, p. 607.
Apply to:

W. B. BREDSCHNEIDER,
Poland, Warsaw, Leszno 1 13-3

Moviolas Now Available for All Film Sixes

OR many years the standby of the film-editor has been the
F indispensable “Moviola” film-viewing machine. Since
sound has entered the business of picture-making, several
“Movie Effect models of sound-equipped “Moviolas” have been evolved,*
facilitating the cutting of pictures with sound on film (single

produce Moonliqk} and NiqW Sffocls in haylime

or double system) or disc.

Foq Scenes- Diffused Focus and many other effects,

Now that wide film is coming to the fore, the ingenious
just like they make ’em in Hollywood Iwan Serrurier, designer of the Moviolas, has perfected new
FILTERS cAsk youp dealer or write models of the device, for all sizes of wide film. At the same
to
ARE USEO
BY ALL GEORGE H SCHEIBE .
time, he has also perfected several models of Moviola for

STUOIOS
PHOTO-FILTER specialist 16 mm. film, which should find great favor, not only with
I927-WV-78I2 ST. LOS ANGELES.CAL individual amateur users, but especially with Commercial 16
mm. producers, and amateur cine-clubs.
* See The American Cinematographer for January, 1930.

Roy Davfdge Tanar Corporation Moves

Film Laboratories C ONTINUING their remarkable expansion, the Tanar
Corporation is now moving into new quarters at 5357
Santa Monica Boulevard, with their laboratories at 1110-1112
Negative Developing and Daily Print North Serrano Ave., Hollywood. The entire ground flood of
exclusively more than 6000 square feet of the building have been taken
over. Next month we’ll have pictures of
6701 SANTA MONICA BLVD. it.

GRanite 3108 •
He who DOES a thing best is he who KNOWS HOW.
Read the Cinematographic Annual!
 Making “Whoopee” with “Inkies”
by FAY LAWRENCE
"The technical data of this article was furnished me by WM. O. MELLOR" . . F. L.

NTILrecently, the motion picture industry was unanimous of the patio, the red tiles of the roof of the ranch-house, and

U the opinion that natural color, musical pictures were

in
passe. But with the release of Samuel Goldwyn’s latest
production, “Whoopee,” starring Eddie Cantor, this opinion
the green of the surrounding shrubbery combine to create an
appealing background. A tremendous amount of light was
necessary to illumine this set so as to accurately reveal the
has undergone an abrupt bouleversement. For “Whoopee” is coloring. A total load of approximately 21,600 amperes
an all Technicolor, musical production —
and a sensational suc- was used by a total of 325 lighting units, consisting of ninety-
cess. Unquestionably, this film is the finest all-color produc- five overhead strip units, each using five 1,000-watt lamps;

tion yet released, and as such is a personal triumph for its one hundred and ninety 24" sun spots, each using a 5,000
director, Thornton Freeland, and its cinematographer, Lee kilowatt globe; and forty 36" sun spots with 10,000 kilowatt
Carmes. globes.
The remarkable lack of the blurriness heretofore noticeable This scene is followed by a spectacular shot, straight down
in color undoubtedly due in no small measure to the
runs is above the combined chorus, executing a unique circle dance.
careful placement of the lighting equipment used. As is well One receives the odd impression of viewing a great, circular
known, the color process used in making this picture requires blossom of unearthly origin that opens and closes its petals with
an increase of approximately 50 percent, in the intensity of swift regularity, suddenly to dissolve into a writhing, living
the illumination used. Thus it may be understood that the mass of color —
and as quickly, to form another beautiful
problem of lighting was highly intricate, requiring a thorough pattern. These effects are cleverly achieved by the synchroniz-
knowledge of lighting, and a delicately balanced sense of ing movements of the dancers and their manipulation of large,
values. Furthermore, it demanded a highly unusual variety white sombreros. It is a gorgeous, circular kaleidoscope of

and efficiency of lighting equipment. Mole-Richardson light- contrasting colors. To illuminate this scene sufficient over-
ing units —
both Incandescent and Arc —
were used exclusively head was used plus fifteen 10 kilowatt lamps and fifteen 5
in the production; several special units having been evolved kilowatt lamps, low on the hot side, with seven 5 kilowatts on
expressly for the purpose of securing certain of the unusual the shadow side, diffused to give roundness.
lighting effects introduced in the picture. The film continues to unfold scenes worthy of the attention
Some of the individual s.cenes were actually breath-taking of every technical man in the industry. A particularly beauti-
in theirbeauty. The first ensemble dance number, for in- ful one isbalcony love-scene between Paul Gregory and
a

stance —
the famous “Sombrero Number” —
executed in the Elinor Hunt. Color and lighting are at their best here. Every
bloom on the trellis-work of
natural, the flowers in
patio of a colorful ranch house, is noteworthy. Here the con- element is
trast of brilliant orange hues, delicate blue-greens, and soft the balcony, brilliant, red blossoms against dark, green leaves,
browns forms a remarkably entrancing scene. The white walls (Continued on Page 45)

A striking scene from “Whoopee”

33
 Thirty-four AMERICAN CINEMATOGRAPHER November, 1930

iWtfi
llllllafllWIlillipli
ir
JYIovieAIa king;
vs mJLttt
by WILLIAM STULL, A. S. C.

Stills From Cine Film be the proper position relative to the lens, and absolutely
in
HE AMATEUR movie maker rarely has any time to even parallel with the plane of the film in the projector. Any in-

T
himself,
think of stills while he is making his motion pictures. Yet
how frequently will he, while running his films, exclaim to
“How I wish I had a still of that!”
accuracy in this will tend to destroy the definition in some
parts of the enlargement. Inasmuch as most projectors dis-
perse some light in all directions, it is best to cover the pro-
Well, why not? Moving jector with a black cloth while enlarging. Similarly, it is advis-
pictures are nothing more than a
able to check the evenness of the illumination received by the
collection of individual still pictures, so why not select one of
them and make enlargement from easel before startingwork.
a still it? There are several
devices available for this purpose —
and even if there weren’t,
a point to
“Filmo” projector and its enlarging apparatus,
In using the
be remembered is that the more powerful “45-50”
ordinary projectors and enlargers would do the trick.
condenser used for Kodacolor projection is not advisable for
The first requisite naturally is a suitable “frame” to en-
enlarging, as it concentrates so much light upon the film that
large. This, in the first place, should be free from such phys-
over-exposure, and in consequence, flatness, results. The best
icalimperfections, as scratches, abrasions, and so on. Then, it
results are obtained with the less powerful “F5-50” con-
should be properly exposed, and rather on the contrasty side:
densers with which these cameras are usually equipped, or,
softness, or flatness makes a very poor enlargement. The
if the other must be used, by reducing the intensity of the
image should be crisply focused, with as much depth as pos-
lamp appreciably.
sible,and, above all,the grain should be as small as possible.
Naturally, most “still” enlargers may also be used for this
Finally, the subject should be caught in such a phase of move-
work, although, since they do not have any provision for han-
ment as will make an interesting and attractive still picture.
dling the long rolls of film, or for moving it frame by frame
Having selected the “frame” to be enlarged, the next con-
past the aperture, they are not nearly so convenient to use.
sideration is the method of making the enlargement, and the
There are, however, several enlargers made for making enlarge-
best size of enlargement to make. Inasmuch as the picture on
ments from standard 35mm. film, as used in the “Leica,”
a 16mm. film is so small, it is unwise to attempt to make a
“Q-R-S-deVry” and “Ansco” “Still-film” cameras, which
still negative larger than approximately 21/4x314 from it. It
may very conveniently be used for enlarging from 16mm.
is true that in projection the same tiny frames are enlarged
films as well.
vastly more, with no apparent ill effects, but there are two
factors which make this possible. In the first place, the pro- Making the Enlargement
jected image is in motion, and our interest is concentrated
There are three methods that can be used in making still
not on the photographic perfection or imperfection of the pic-
enlargements from cine film. The first is to make the orig-
ture, but upon the action that is taking place on the screen.
inal cinematographic picture on negative film, then making an
Furthermore, the projected picture is viewed from a distance enlargement directly from this negative, on Bromide paper, in
of several feet —
from which the details of minor technical the usual manner.
imperfections are not readily visible while still pictures of
snapshot size are usually viewed at a distance of a few inches
— The second is to use the ordinary reversal film, but to make
— from which every detail (good or bad) is instantly discern-
a negative from the reversal positive, by contact printing, sub-
sequently using this “dupe” negative for enlarging as above.
ible. Therefore, though a 16mm. frame may be enlarged as
much as five of six hundred times in cinematic projection, an The third method
all ways, the most practical.
is, in This
is to use reversal film — made from a nega-
or a positive print
enlargement of around seventy diameters is the maximum gen-
erally allowable in making still pictures. This maximum is
tive, in the ordinary —
way
and make an enlarged negative from
this, making the enlarged prints from this, by contact. This
represented by the 2!4x3!4-inch dimension previously re-
has the great advantage of giving an enlarged negative, from
ferred to.
which prints may be made at any time, by contact, without
The Enlarger any further trouble over enlarging. Furthermore, from this
The most method of making enlargements from
logical
enlarged negative, it is frequently possible to make still fur-
16mm. film is to employ one’s regular projector, for the pro-
ther enlarged prints with much better results, and less trouble,
jector is, in effect, nothing more than an enlarger equipped than if the additional enlargement were made from the orig-
to project enlargedimages from the cine “frames” in rapid inal 16mm. “frame.”
succession. Therefore if it is equipped with some means for making these enlarged negatives, the users of the various
In
preventing the intense heat of the projection light from dam- enlargers which are accessories to projectors usually are con-
aging the motionless film in the aperture, it may quite natur- fined to the use of film packs. Of course, any brand of film-
ally be used as an enlarger. The manufacturers of some
pro- pack may be used, but it is as well to use whatever brand the
jectors (notably the “Filmo” in this country and “Bol” in manufacturer of that particular enlarger recommended, inas-
Europe) have recognized this, and devised special attach- much as the shutter action on the enlarger is usually timed to
ments for their machines which make enlarging simplicity give a perfect exposure upon that particular emulsion. In any
itself.But those who do not own such outfits may easily adapt case, however, the film with the finest grain is preferable.
their present machines to such service. The most obvious re- The users of other enlarging devices, however, may have
quirement is some sort of an easel, or other support for the quite a considerable range of sensitive products to choose from.
film or plate upon which the enlargement is made, which will
(Continued on Page 41 )
 !

. . . in which
John Arnold’s Filmo
does a 35 mm. size job
John Arnold, A. S. C., with his Filmo 70-D

OHN ARNOLD, mainspring of the

J Metro-Goldwyn-Mayer Camera Depart-
ment, has a bump of curiosity as big as the
"bungalows” he originates. An inveterate
(and successful) experimenter, he uses his
Filmo camera constantly in his more or
less private searches for new angles on
cinematography and cinemachinery.
"I get a lot of fun out of my Filmo, but
I do a lot of experimentation with it, too,

at a whole lot less cost than if I used

standard film,” says Mr. Arnold.
Mr. Arnold’s interest in Filmo extends
beyond his own researches into the use
made of this camera by other film colon-
ists. Among his interesting discoveries is

the fact that newly arrived actors and

actresses, all ardent Filmo fans, are using
their cameras in learning how to time
Filmo 70-D — “Master of allpersonal movie cameras. ” Seven
their movements when they face the big film speeds, three-lens turret, variable viewfinder. $245 and
Bell & Howell’s in the studio. up in Sesamee-locked Mayfair case. Other Filmos from $92. 00
up. Filmo Projectors, $198 and up. Many Bell & Howell
The "professional amateurs” who use
Filmo —
and they are many turned — dealers offer convenient budget payment plans

naturally to this camera, guided by

years of experience with the big Bell &
Howell. Precision is its middle-name, as your cigarette lighter, it doesn’t miss it by far. Ask your
and, while not so simple to operate dealer to show you the Filmo. Or write today for literature.

BELL & HOWELL

Film
Professional Results with Amateur Ease
Bell & Howell Co., Dept. W, 1848 Larchmont Ave., Chicago * New York, Hollywood, London (B & H Co., Ltd.) * Established 1907

Bei Aufragen und Bestellungen beziehen Sie sich bitte auf die American Cinematographer.
35
 Professiona
In Which We Present an

by WILLIAM
I’d have to begin by learning something about photog-
raphy.
“But you know how it is when you are on a pic-
ture. You’ve not time for anything else. So put off I

my start at learning photography more and more. Be-

sides, was so bewildered by the variety of amateur
I

still and movie cameras available that hardly knew I

which way to turn.

“Then one Sunday I went out the beach with
to
Arthur Hornblow and his family, and saw Arthur’s
I

handly little ‘Leica’ camera. It was so neat

still-film
and compact that me immediately; but,
it interested
well, couldn’t quite see the value of making such
—and
I

tiny pictures as that little camera made I

couldn’t believe what Arthur told me about the en-

largements he could make from them. But when we
got back into town, Arthur convinced me by producing
some pictures as big as 8x10 and even 11x14, which
had been made from the tiny Leica films.
“The next day I got myself a Leica!
Mr. MacKenna does some enlarging
found that I’d made no mistake in getting it,
“I
for it enabled me to teach myself photography just

PERSONAL photography could be reduced to a com-

F
as well as though were using a big camera
I and —
certainly at a far smaller cost. Considering the number
mon denominator, that common factor would be the
family Kodak. For although there are thousands who
of mistakes made in those early days, that last item
I

own cine cameras, everyone owns some sort of a still

camera. Yet the majority of these camera-owners can
hardly be called photographers even by the greatest
courtesy, for photography, to them, consists solely of
pointing the camera in the general direction of some-
thing or other, pressing a button, and blaming the —
“finisher” for the inevitably bad results. They make no
attempt to acquaint themselves with even the ele-
mentary principles underlying the operation of a camera;
and the artistic side of photography is, to them, a closed
— even unknown book. —
All of by way of introducing Kenneth Mac-
which is

Kenna — Hollywood’s
one of “professional amateurs”
who graduated from the “button pushing” class before
he entered it. For Mr. MacKenna, coming from a family
of artists, realized from the first that there was more
to photography than mere snapshooting, and accordingly
approached the subject with intelligently-directed en-
thusiasm.
“My real introduction to photography,” he says, “came
when I was called to Hollywood to do talking pictures
for Fox. played in several silent pictures in the East
I’d

before, but as was then dividing my time between the

I

stage and the screen, hadn’t time to really study my

I

surroundings in the studios. Out here, it was different.

I settled down
Hollywood, and devoted myself en-
in
tirely to not only making moving pictures, but to really
learning how they are made. During my career on the
stage, I’d managed to make myself intimately familiar
with every detail of theatrical production, and naturally
I wanted to familiarize myself with picture production
in the same way. Of course, the most obvious difference
I found was the introduction of the movie camera be-
tween the player and his audience. So told myself that One
I
of Mr. MacKenna’s stills

36
Amateurs
7/
Amateur St i 1 1
7
Man

STULL, A.S.C.

was important! The cameramen that worked with on I

my various pictures gave me every help, too, for they

were always willing to explain any point that didn’t I

understand.
“With soon managed to pick up a fairish
their help, I

understanding of the elements of photography. They

gladly taught me all about exposure, lighting, and so
on; and since my father and brother are both painters,
and had given me some idea of composition, all had I

to do was to learn how to adapt my knowledge of com-

position to the requirements of photography.
“So it wasn’t long before had become really in-
—
I

terested in photography for its own sake. Then like

most other amateurs —
soon became dissatisfied at being
I

able only to take the picture, and having to let someone

else do the developing, printing, and enlarging that
really completed the work. So the next time went down I

town, ordered a complete ‘Leica’ dark-room outfit.

I

“It came, a few days later, just as was dashing out

— —
I

late to a friend’s party. had the various boxes, etc.,

I

taken up to my room, then hurried away for the evening. Mr. McKenna forgets acting
When came home, much later, those boxes intrigued
I

me. I couldn’t rest until I’d opened them. So, although

it was well after midnight, dug out a hatchet, and set about
I the first one, the better, for it was by no means satisfactory
installingmy little laboratory. But by the time that had gotten I enough to let me go to bed and sleep man. Nor
like a sensible
everything ready to use, was so excited over it all that
I I was the next, or the next. But making them was so fascinating
naturally had to use it! So then and there, quite unmindful of that I didn’t want to sleep. Instead, sat up and experimented
I

the fact that it was more than a little beyond the wee sma’ all night, until by morning had a collection of really nice
I

hours made my first enlargement. The less that is said about

I
(Continued on Page 42)

Another of Mr. McKenna’s stills

37
Thirty-eight AMERICAN CINEMATOGRAPHER November, 1 930

Upper left, Dawn on the Mediterranean. Upper right, Alaskan scene on a cloudy day.
Left center, Sunrise in Italy. Taken at four o’clock in the morning. Right center, Venice on a cloudy day.
Lower left, Sunset in Alaska. Lower right. Another Alaskan scene.
 —

Cine-Kodak Goes on Alaskan Location

by JOHN W. BOYLE, A. S. C.

W HEN a
tures for the
man’s business

seldom has much time to think more than momen-

amusement

tarily of anything else, even himself. Therefore, although

have used a 16mm. Cine-Kodak for many years, I’ve con-
is that of making motion pic-
of the rest of the world, he

I
shots through filters. On our departure from Seattle, the
weather was fairly good, and as the Pacific Fleet was in port,
we had a more than usually interesting background. The In-
side Passage was very interesting, and worthy of considerable
footage. It reminded me strongly of the Inland Sea of Japan,
fined my amateur activities to the routine subjects found at except that the islands were more mountainous, and the
home, and among my friends. And though I’ve often seen channel generally narrower.
things around the studio and on location while I’ve been work- As our object was to reach Alaska at the height of the
ing, which I’ve longed to secure for my home library, I’ve Salmon season, we found much interesting activity to photo-
never carried my amateur cinematic interests into my profes- graph, both professionally and personally. The methods used
sional work. in trapping the fish, both in the large, stationary traps, and
However, this summer, something happened which changed in the floating ones, are worth a complete picture in them-
my point of view. had decided that I’d spent quite enough
I selves, and offer plenty of action —
and some interesting sound,
time working on hot, sound-proof stages, so sought out pro- too. The are huge affairs, and have to be emptied
traps
—
I

ductions that were to be made in the well-known ‘great “brailed,” the fishermen call it at certain times during the
open spaces.’ joined the R-K-0 Camera Staff, and im-
I day. Since there is an eighteen foot tide in this part of the
mediately had the good fortune to be associated with Karl world, the fishing operations require a great deal of skill and
Struss, A. S. C., in charge of the photography of their big efficiency. Then there is the possibility of getting some really
railroad ‘special,’ “Danger Lights,’’ which was made both in spectacular scenes of the salmon going up the streams to
standard 35mm. film and wide film, using the Spoor- Berggren spawn. Of course, I had read how these fish rush up the
63mm. process. Our locations were along the main line of rivers in literal droves, leaping over roaring waterfalls, and
the Chicago, Milwaukee, St. Paul and Pacific Railroad, and so on, actually saw them doing it,
but until I had never I

during the six weeks that we were out we lived in a de Luxe fully what a remarkable spectacular performance it
realized
special train, among some of the most beautiful scenery in is. makes an unusually interesting film, particularly if you
It

America. The combination of this scenery and the fascinating have some moderately long-focus lenses, so that you can get
novelty of our intimate contact with the railroad activities fairly big images of the fish, yet remain yourself out of reach
soon had me wishing I’d brought my Cine-Kodak along. But of the spray from the falls. The operations of the canneries,
it remained for one of our sound engineers to have done it. themselves, are equally interesting. All of the canneries are
When we returned, he had made a very complete record of large and sanitary, and in many instances so well illuminated
our trip, in all its aspects, from scenes of the boys bathing by natural light that it is possible to take interiors at a stop
in the icy waters of the Missouri river to our ‘Special’ pulling no greater than F:2.3, with the camera running at normaf
into Chicago. After seeing his film, decided that wherever speed.
—
I

my next location might be, I’d take my Cine-Kodak along The people of Alaska and arewhich is
very hospitable,
and make my own record of the trip. even more important to a photographer they are “picture —
Two weeks later, I was assigned to the company going to minded,” and go well out of their way to help a fellow-
will
Alaska, to make “The Silver Horde.” That clinched it! Alaska secure a picture. The towns are full of interesting sights, from
is one of the few places on this old globe that hadn’t seen I Totem Poles to Indian villages to say nothing of the many —
and photographed, so my Cine-Kodak was surely going along! picturesque native characters. At one of the villages where we
I laid in an ample stock worked, the houses were
of Panchromatic film, all built over the water
j
got some new gelatine on piles, with narrow,
filters, and was off. I wooden walks serving
make a practice of as streets. And these-
keeping a K-2 gelatine were by no means only
filter mounted just in the poorer parts of the
front of the front com- town, but even parts of
bination of my lens all the business district. It

of the time. Of course, is certainly a queer sen-

occasionally there are sation to be walking
times when a K-3 or a along in front of really
C filter is preferable; respectably big busi-
but the matter of ness buildings, and’
changing filters is very realize that they are-
simple. Very early in allsupported on piling,
the morning, and very and stand, perhaps, in-
late in the evening, five or ten feet of
when the light is weak, water at high tide! In
and quite yellow, and another town where we
your 1.9 lens must be worked, the traffic
used wide open, no problem was almost
filter is necessary. But like that of an Ameri-
/
as a general rule, I try ( Continued on
to photograph all of my Page 46)

39

V
 New Portable Recorder for Double

System
market has not been favorable to full length films of this na-
ture. Consequently, some extraordinarily fine films have been
inaccessible to the American public generally and especially to
the home, church, and school fields where such material is most
desirable.
An effective remedy is now offered by the Bell &
Howell
Company which has prepared one and two reel versions, on
16 mm. film, of some of Amkino’s best productions.
Among these new Bell & Howell releases is a two reel pic-
ture of life among the primitive family tribes of a tiny, forest
people, the Ussurians. Their mode of getting a living by
skillful hunting
and fishing, their social division of labor
between the and finally the influence of Western
sexes,
civilization bringing commendable changes to these back-
in
ward, simple people are arrestingly portrayed. One of the most
interesting moments shows the excitement of a native when
he sees himself in the movies for the first time. This film,
which is entitled “Taming the Taiga,’’ ranks with the best

Front view recording head

-THE HOLLYWOOD CAMERA EXCHANGE has just announced

an entirely new, portable sound recording system for which
they are the sole agent. The outstanding feature of the new
system is that it uses the double-film system as used in the
studio recorders. The recorder is an entirely separate unit from
the camera, both being driven by synchronous Direct Current
motors, operating from “B” batteries. This is believed to be
the first installation to successfully use Direct Current, battery-
powered motors in absolute synchronization.
The electrical equipment of this new recording system is
unusually complete, yet compact. The microphone is of the
condensor type, and the amplifier is a four-stage, direct-coupled
design, with a gain in excess of 100 decibels. The whole
amplifying unit, including the microphone, headphones, spare
recording lamps, and all necessary equipment except the bat-
teries, is assembled in a carrying case measuring 17" high, 1"
1

wide, and 10" deep. The batteries are in another case, while
the recording head fits into a third.
The recording head is of cast aluminum, and uses standard
Mitchell magazines. It is fitted with a footage- meter, tacho-
Amplifier and microphone of new portable equipment
meter, speed controller, and a switching arrangement which
permits the use of either camera or recorder alone, or of the
two together, in synchronization. This sound system, of which socio-naturalist films and is of compelling interest for home,
school and church showing.
the Hollywood Camera Exchange is sole agent, has been worked
Another of these releases is the one reeler “Hunting and
out by Hollywood engineers with years of experience, accord-
Fishing in Siberia,” which is of special interest to the lovers of
ing to Art Reeves and Cliff Thomas, heads of that organization.
unusual sport and travel films and which includes the killing
of a giant bear by a native single-handed and armed only
•
with a spear.

Russian Travel and Educational Films Made Athird release is a one reeler on Afghanistan, reported to
be the only motion picture ever made with the consent of
Available in 16 MM. the Afghan authorities. The extremely primitive methods of
HE EXCEPTIONAL quality of Russian travel and educational agriculture are plainly and interestingly shown, likewise the
T films
widespread
thus far introduced into this country has aroused
favorable attention from American film critics,
towns and their crowded bazaars and busy handicraftsmen;
also camel, elephant, and buffalo transport; ruins of ancient
educators, and the motion picture world generally. temples and, then, the surprising forced-draft of modernity
Thus far the presentation of Russian pictures, except for a introduced by the ill-fated King Amanullah. Travel interest,
few features like “Potemkin’’ and “The Fall of St. Peters- humor and educational value are skillfully blended.
burg,” which enjoyed runs at Roxy’s Theatre in New York
City, has been limited to some of the smaller movie houses in
the larger cities, due to the fact that the general theatrical Have you ordered your Annual?
40
 —
November, 1930 AMERICAN CINEMATOGRAPHER Forty-one

Amateur Movie Making

(Continued from Page 34)
While filmpacks are hardly suitable for use with ordinary en-
largers, orwith projectors individually adapted to such service,
there is an almost unlimited range of cut-films and plates
available. Almost any good, slow, Orthochromatic emulsion
will do; speed and color-correction being, naturally, of no
importance. Speed is, in fact, somewhat of a disadvantage,
inasmuch as the grain increases out of all proportion to in-
creases in speed. Users of plates will find that the special
“Lantern-Slide” plates will be excellent for this sort of thing,
while the various “Process” emulsions will also give good re-
sults, especially where particularly snappy, contrasty results
are wanted.
In printing from these enlarged negatives, the whole vast
range of printing and enlarging papers is available, making the
choice of a printing surface a matter for individual decision.
However, it may well be remembered that the rougher surfaced
papers are decidedly the best for this use. Perhaps the best
results come through the use of the so-called “silk-finish” or
“linen-finish” papers, on a buff stock.
Sometimes it happens that one wants to enlarge scenes from
his older films, which are often scratched from much use. In
this case, the best thing to do is to clip out the selected frame,
and make the enlargement with an ordinary, vertical “still”
enlarger, using a glycerine sandwich. By this means the various
abrasions on the film base can be almost completely concealed.
This is done by immersing the film in a liquid of the same
refractive index as that of the film base and gelatine-emulsion;
in this case, either glycerine or turpentine.
The so-called “liquid sandwich” is made this way. Pour a
$ 2.00
little pool of the liquid — in this instance, let us say glycerine
AT YOUR DEALER
—upon the bottom glass of the of your
negative-carrier
enlarger. Then lower your strip of than
film — not more DREM PRODUCTS CORPORATION
four or five frames long — intoemulsion
this pool, 152 West 42nd Street New York City, New York

down, until all of it is in absolute contact with the

glass and the liquid. Then pour another pool of glycerine out
on top of the film, and slowly lower the cover-glass upon it.
This completes the “ sandwich,” which should then be placed
in the carrier of the enlarger and used. Obviously, it is suited
only to use in a vertical enlarger. Inasmuch as the film is so
small, and can hardly fill the full area of the carrier, it is a
good idea to place a mask over it, to cut unwanted light and
prevent fogging of the plate or paper upon which the enlage- CINE LENSES
ment is being made.
are optically accurate

and photographically
Filmo Topics
effective » » » » »
HE November issue of Bell & Howell’s wonderfully interest-
T ing monthly publication, Filmo Topics, should be very
worthwhile to the users of 16 mm. cameras. This publication Kino-Hypar f:2.7 and f:3, 35 to 100 mm.
will be mailed free to anybody who simply writes to the Bell focal lengths. Simple in design consists . . .

& Howell company at 1848 Larchmont Avenue, Chicago. It of only three lenses affords microscopic
. . .

is a splendid little publication, packed with useful and inter- definition in the image. Free from flare or
ing ideas and information. The contents of the November coma. Fine covering power.
issue below:
FILMING AN ARCTIC EPIC, THOMAS B. SWEENEY, JR. Telestar f:4.5, 4 Vs to 1 3 V2." focal lengths
The annual hunt off the coast of Labrador.
seal an ideal telephoto series for long distance
YOUR THANKSGIVING PARTY IN MOVIES. How to produce shots and closeups excels because of
. . .

family gathering films of lasting value. practical absence of distortion.

STILLSFROM YOUR MOVIE FILMS.
CHRISTMAS CARDS FOR MOVIE MAKERS. Several ideas Cinegor f:2 and f:2.5, a Superspeed series;
used by Filmo owners. ideal for work under unfavorable light
TITLING YOUR FILMS. 2. Preparing
cards for filming title conditions.
—
various methods illustrated and explained.
A new catalog listing the complete line ef
CHRISTMAS GIFT SUGGESTIONS. What the movie maker will be mailed
Goerz Lenses and Accessories
expects of Santa Claus. on request.
ACTION AT THE APERTURE, JOSEPH A. DUBRAY. No. of 1 1

the “Facts about Filmo” series, explaining the operation

of the intermittent mechanism of the Filmo Projector. C.P.GOERZ AMERICAN OPTICAL CO.
QUESTIONS AND ANSWERS, JOSEPH A. DUBRAY. 317 EAST 34™ ST. NEW YORK CITY
 —

Forty- two AMERICAN CINEMATOGRAPHER November, 1930

ACTION!

ERE we see Colonel Wm. C. Stuber, President of the Eastman Kodak Company, in the garden of his
H home at Rochester,
with his Cine-Kodak.
N. Y., making movies of his grandchildren, Marjorie and William James Stuber,

Professional Amateurs and this wasn’t by any means one of the big ones. So there
was no room for the big 8x10 cameras of the still men; but
(Continued from Page 37) it was easy enough to slip the little ‘Leica’ into my pocket

prints to show. “Since then, I’ve been learning more and more and snap as many pictures as wanted.
I I took the roll home
about my new hobby, and enjoying it more with each mistake with me when we quit the location, developed it, and made
some really fine enlargements from it. Then was able to ex-
and each success. Arthur Hornblow has shared my dark-room I

with me, and together we’ve spent hours working with our hibit them to the still crew, as definite proof of the value of a

enlarger, trying to get new effects and new compositions from tiny camera like that in emergencies on a movie-set. The boys

our old negatives, trying new papers, new formulas, and every- were so enthusiastic that they finally persuaded me to let them
thing else that a couple of enthusiastic amateurs can think of. have the negatives of those pictures, and I’ve since understood
that prints from them went out as part of the regular set of
“I’ve become quite rabid on the subject of making big prints production stills on the picture.
from small negatives. And why not, after all? If your camera
“While not yet taken up 16mm. movie-making (though
I’ve
will give you a really first-class negative, and you take suffi-
I’m getting nearer to it every day), I believe that such small
cient pains in enlarging, you can not only get as good an en-
still-filmcameras as the ‘Leica’ are the answer to the
larged picture as though you had used a big camera in the
amateur cinematographer’s need for stills to go with his movies.
first place, but often a decidedly better one, for in enlarging
They are so small, so simple to operate, and will produce such
you have almost unlimited possibilities of control. Besides,
excellent enlargements that I don’t see how they can be
the enlargement will give the picture a certain artistic soft-
left out of an amateur movie-maker’s outfit.
ness that cannot be imitated in a contact print.
“Besides, these tiny still-film cameras can be carried about
“Besides, there is so much in favor of using a small camera
with one almost everywhere, without being noticeable or
in the first place. For one thing, you can, with a ‘Leica,’
burdensome. And if you carry a tiny camera such as this about
use regular motion picture film, which gives you the identical
with you regularly, you will soon find yourself seeing the
Panchromatic emulsions that the professional cinematographer
world with an entirely different eye. You will be constantly
uses, and which are not available in any other form. Then, too,
seeing pictures in the ordinary scenes and happenings of daily
you can use a small camera in so many places where you abso-
life. Thus you will find yourself changing from just another
lutely cannot use a big one. This is something that should com-
snapshooter into, well, hardly an artist, but certainly into some-
mend the small camera not only to amateurs, but to profession-
als, as well. Since I’ve had my little camera, I’ve been religiously
one who has the desire to make his prints really count as
pictures, rather than mere records. You’ll begin to think
preaching that idea to still men on my pictures; but al-
lighting, chiaroscuro, and composition in connection with even
though many of them have individually and personally agreed
the most ordinary snapshots, just as the studio cinematographers
with me, Ican’t say that my arguments have made any great
have to; and you’ll be thinking, not only of the individual
impression upon the official conduct of the studio still de-
subjects as potential pictures, but of the viewpoints and con-
partments! But did have one wonderful opportunity for
I

ditions which will make them the best pictures. And once
proving my contentions. That was on Fox’s submarine pic-
ture, ‘Men without Women.’ This film, you know, was made
your thought gets started in that direction, it rests solely with
with the co-operation of the U. S. Navy, who placed several you to make your pictures really worthy pictorially.
•destroyers and submarines at our disposal. One sequence was “You can say much the same about enlarging, too, for
actually photographed inside a submarine, under water. Now, with the possibilities you have of control, through using only
•even in the biggest of subs, space is distinctly at a premium part of the negative, dodging, and double-printing, you have
 9

November, 1 930 AMERICAN CINEMATOGRAPHER Forty-three

New Bell & Howell Bright Screen

ROM the Bell & Howell engineering laboratories has come a

F remarkable new screen, which is now ready for delivery. Its
unprecedented reflective power and its fine texture make it
ideal for projecting Kodacolor pictures, and it also gives black
and white films a new rich beauty. It is surprisingly light in
weight, making for easy handling and transporting.
This dual purpose screen has a double frame. The outer
frame is attractively finished in brown walnut. On the narrow, >rgwH?l B^ F2a
black finished inner frame, the fine textured, projection sur-
M I I ON BY

face is mounted. For use, the inner frame is easily unsnapped, MITCHELL CAMERA CORPORATION
lifted out, reversed, and replaced. Then, when the show is
over, the inner frame is removed and replaced with its projec-
665 NORTH ROBERTSON BOUIEVARD
tion surface facing in for protection from dust, dirt and abra- WEST HOLLYWOOD CALIF.
sion when in storage.

Two swinging feet on the base support the screen upon a

table, and may be turned to lie against the frame for compact
storage.
The is a composition of several
projection surface metallic
elements extremely finely powdered form, held in suspen-
in
sion in a binding solution and applied to a 14-gauge sheet AMERICAN CINEMATOGRAPHER,
aluminum base by a special Bell & Howell developed process.
1222 Guaranty Bldg.,
When necessary, this surface may be dusted lightly with clean,
Hollywood, California.
soft cheese-cloth. Should the surface, after long use, become
unduly scratched or marred, the aluminum sheet may be re-
moved from its frame and refinished at the Bell & Howell Gentlemen : Please find enclosed three dollars

factory at nominal cost.

(Foreign rates additional), for one year’s subscription

a chance of making real pictures out of even rather ordinary to the American Cinematographer, to begin with the
negatives. And, too, the business of making the enlarged
prints is such good sport. You can work over your enlargement issue of , 1

just as a painter works over his picture, until you get exactly
the effect that you want; you can put your own personality Name
into your pictures, almost as truly as though you drew or
painted them. People talk about the lack of control that the Street No
photographer has, in comparison to the painter, and of his
lack of color: yet these same people will often revel in the Town State
beauty of a monochrome etching, or of a page of rare printing.
To me, a fine photograph is equally a thing of beauty. For
years, have collected rare books, simply for the esthetic
I

pleasure the beauty of their craftsmanship and printing con- Clubbing Rates
veys; now, since have begun to learn something about
I

photography, have found that a perfectly made photographic

I
U. S. Canada Foreign
print has the same exquisite, singing beauty that distinguishes
American
Cinematographer — $3.00 $3.50 $4.00
a perfectly printed page, or a fine etching. Pictorial beauty is
In Club with:
the same, no matter what medium is used to express it. So Camera Craft — ... 3.90 4.65 5.40
if there is anything that I, as an amateur, can say, it is that
Photo-Era 4.75 5.00 6.40
I wish that more of my fellow-amateurs could realize the The Camera ~~ 3.90 4.40 5.40
possibilities latent in their family still-cameras, and in their
most ordinary surroundings. If they’d only look for pictures in Please make all remittances payable to

their every day life, they’d find themselves surrounded by

THE AMERICAN CINEMATOGRAPHER
pictorial beauty all the time.”
 Making Multicolor Two Miles Up
Elmer G. Dyer, A. S. C., Makes Unusual Aerial Color Films

by WM. STULL, A. S. C.

LMER G. DYER, A. S. C.,one of Hollywood’s most outstand- above the clouds the Waco would come alongside us, fly be-
E ing aerial cinematographers, has been making tests for side us for afew moments, half-roll onto its back, hang there
moment, and then drive straight down to the clouds, so that
Multicolor in the air, and to top off his aerial tests with this a

color film he has just shot scenes at an elevation of ten I could follow it with my camera, and get some shots of the
thousand feet, the first time natural color has been shot at such earth through the clouds. As usual, the manoeuvre was to be
an elevation, as far as we of this publication can determine. repeated several times, so that we could get plenty of inter-
esting footage. After that, there were to be a few loops, lm~
Some of the observations of Mr. Dyer, who is under contract
melmanns, Wing-overs, and a spin or two, all of which would
to Caddo, whose ally is Multicolor, are extremely interesting
give us some plenty interesting action, and give us a good idea
and follow:
of the use of color for such work.
“I’m glad that I’ve been able to do it,” says Dyer, “not
only because it is something I’ve been wanting to do ever “Well, things went according to schedule for a while. We
since started flying, but because the results have justified
I filmed our own take-off, and then got a good shot of the
the confidence that Howard Hughes has shown in me in let- other ship getting off, too. Then we climbed, and got into
ting me have a free hand with these experiments. position. The first half-roll and dive went off beautifully;
“Black and white photography —
no matter how perfect so did the second; but then the ship’s engine
him, and he had to make a forced landing in a beet field sev-
went dead on
can never give a true impression of the beauty of the scenes
that are constantly revealing themselves to the eye of the eral milesfrom the airport. We
circled around, as we expected
flyer. You can capture the form of the various cloud-forma- that he’d be joining us in a few minutes, but he soon signalled
tions, of course, but you can’t get the full beauty of it over that we’d have to go on without him. was sorry to lose
—
I

without color. Black-and-white photography can suggest the my subject but otherwise was plenty glad to get away;
I

beauty of some scenes you see above the clouds during the I was dressed for high-altitude flying, and it was awfully hot
daytime, but it’s a total loss when it comes to the beautiful, down there, a scant few hundred feet above the ground!
pastel tints of a sunset or sunrise above the clouds. Besides,
“But, as we started to climb, got more and more thankful
in pictures of aerial ‘dogfights’ —
like those in ‘Hell’s Angels’
I

my heavy, fleece-lined flying-suit, my heavy mittens, and

or ‘The Dawn Patrol’ think of —
the pictorial possibilities of
for
the big leather face-mask was wearing. By the time we got
I

color, with a dozen or so brilliantly colored ships manoeuver- up above the clouds the altimeter registered 10,000 feet, and
ing against the sky and great masses of snowy clouds. Then,
the bottom had dropped out of the thermometer. I was cold,
too, the coloring will make it much easier for the audience to even through my warm garments; and the oil in my camera
distinguish the individual ‘ships’ flown by the various char- got so cold and thick that the motor would no longer pull it;
acters. And if you think that an ordinary,
I had to crank it myself.
“In our tests, we put the camera in one plane, and took
off, while another ship —
a Waco with a brilliant blue body,
silenced camera turns hard down on the ground just try it —
red-striped, and orange wings —
went up with us to stunt a
two miles up in the air, with the oil nearly frozen stiff! If

bit for my camera. The plan was that as soon as we got (Continued on Page 50)

Cloud formation 10,000 feet in the air

44
November, 1 930 AMERICAN CINEMATOGRAPHER Forty-five

Making “Whoopee” With “Inkies” Emery Huse, A. S. C.

(Continued from Page 33)
bare, skeleton cactus plants etched against a marvelous sky
of blue, the pure white of the girl’s bridal dress — all blending

perfectly into one extraordinary composition. is over- Nothing

done. The general lighting was cut down in this scene due
to the closeness of the shot. Lights consisted of 24" sun
spots, ten duces and six rifles.
Undoubtedly one of the most beautiful shots ever made
with color photography the Mission Arch scene.
is The arch,
silhouetted against a wondrous blue-green sky, forms a picture
of rare,haunting charm. Lights from the ranch house filter
through nearby trees to lay soft traceries of white upon the
sombre brown of the arch. Figures clad in pink pour through
the entrance, their arms brimming with gorgeous desert blos-
soms. The lighting effects ring up a grand score here. Full
lighting on this set consisted of a total load of 12,860 amps,
including sixty-eight 5 unit strips, as general overhead lights,
one hundred and two 24" 5 kilowatt sun spots and twenty-
five 36" sun spots. In order to emphasize the beautiful tones
of green in the scene two 36" Mole-Richardson sun arcs, three
24" Mole-Richardson sun arcs and eight 80 amp rotary spots
were used. Arcs were employed here due to the fact that
the arc ray contains a greenish hue which is highly effective
on green substances, therefore preferable, so long as it does
not spill over and hit white, blue or red.
Many scenes taken on the Indian reservation set are par-
ticularlyattractive. The instance where Cantor smokes the
peace pipe with the chief contains a somber beauty a compo- —
sition of browns, ochres, oranges and reds. The total load
here was 7,535 amps, consisting of thirty-eight 5 unit strips,
thirty 18" sun spots, one hundred and one 24" spn spots and
five 36" sun spots.

Introducing the grand spectacle, an Indian chieftain in full

regalia stands silhouetted against an evening sky, traced with
wisps of clouds tinted a delicate rose by the setting sun. This
is perhaps the simplest, yet by all odds the most impressive
scene in the entire production.
—
Comes the spectacle a rhythm of moving color pouring MERY HUSE, another of the new Associate members of the
—
down a great ramp, white, cream, black, pale, salmon, orange, E American Society of Cinematographers, was born in New-
deep red, brown, green, blue —
immense feathery, colored buryport, Massachusetts, February 24, 1897. He was educated
in Washington, D. C. in the public grammar schools, Central
plumes, head-dresses for beautiful women astride stalwart
horses. A magnificent scene illuminated with a total load of High School and George Washington University. When the
18,170 amps consisting of one hundred and twenty-two 5 war broke out Mr. Huse entered the Air Service. In January,

unit strips, one hundred and fifty 24" 5 K sun spots, W 1919 he entered the Physics Department of the Eastman
twenty-eight 36" 10 K W
sun spots. On the backing thirty Kodak Company Research Laboratory where he remained until
36" 10 K W
sun spots were used.
August of 1 926.
Throughout the picture sky vistas were greatly featured in
At that time he was tranferred to the Motion Picture Film
backgrounds. This called for a particular type of light which
was developed by Mole-Richardson, Inc., exclusively for this Division of theEastman Kodak Company in Rochester where
production. Forty of these new lights, aptly called “sky lights’’ he remained for two years. Then he was sent to Hollywood
were manufactured. All sky backings in “Whoopee” were in March, 1928 for technical service work. At present he is
lighted by these lamps, a 10,000 watt globe being used in Manager of the West Coast Division, Motion Picture Film De-
each lamp. A special feature of the “sky light” is that it
partment of the Eastman Kodak Company, and is the Technical
eliminates all light circles and dark rings. The beautiful cloud
effects in the sky scenes were produced by bringing light up Editor of the American Cinematographer, as well as one of
through the use of rheostats on 0 Sun spots.
1 KW the members of the Board of Editors of the Cinematographic
“Whoopee” is a wonderful achievement in color photog- Annual.
raphy and lighting effects. It sets a new high mark for
excellence in color productions.

Nagel Cameras With Hugo Meyer Lenses

I
N THE
Paris
populous Villette district of Paris, Leon Brezillon, presi-
dent of the French exhibitors association, is erecting a large
W E NOTE with interest that the Nagel Cameras are
equipped with Hugo Meyer lenses which, to our way of
thinking, represents as desirable a combination as it is possible
hall, which will be fully equipped for presenting sound-films to obtain. The Nagel cameras are characterized by their rugged
on a wide screen. For the purposes of the enterprise, which yet light construction, their beauty of appearance and their
is considerable, the Societe Secretan Palace has been founded, ease of operation. And the fact that they are matched by a
with an initial capital of four million francs. M. Brezillon will series of Hugo Meyer lenses makes the combination one that
be president and managing director of the company. is highly desirable and one that should be very efficient.
 —
Forty-six AMERICAN CINEMATOGRAPHER November, 1930

Cine-Kodak Coes on Alaskan Location water of the famous Inside Passage stretching endlessly away
(Continued from Page 39) into the distance.On many of the islands there are numerous
black bear, and it is amusing to see the old Mother bear on
the edge of some stream teaching her cubs how to catch salmon.
Their method testifies rather plainly as to the size of the
Alaskan salmon-runs, for they merely wade out into the river
until the water is two or three feet deep, and scoop up the
passing fish with their paws, and toss them onto the shore.
This makes an unusually interesting picture, but it demands a
long-focus lens, for Mother Bear is not picture-minded!
Alaskan weather, unlike the people, is not always so ready
to co-operate with the photographer. In fact, nearly every
day that we spent in the country was more or less rainy or
cloudy. But, if the weather bureau wouldn’t co-operate with
us, we could at least take advantage of the prevailing weather
to get pictures of the country in its natural state. This is
something that any amateur can do; wherever he goes, in fact,
he should do so, for, after all, a personal travel film is not
intended to show the country the way it should be, but the
way it is. Therefore, if you go right ahead, and shoot the
country as it presents itself to you, rather than waiting for a
theoretically “ideal” condition, you will find, as did, that I

your scenes of the natural moods of the country are far more
Concentrator microphone of R-K-0 used on “Danger Lights”. interesting than those sent out by the steamship companies
to lure tourists to an ap-
parent land of “eternal sun-
shine.’’Did you ever notice
can metropolis, while for that most of the advertising
there were rather more than
pictures seem to have been
five hundred automobiles in
made when the sun was at
the place, the city boasted
its brightest? But for a per-
exactly eight and three-
sonal record, I found that
quarter miles of road for
filming the country in its
them to use!
Alaska is in many ways varying natural moods was
a land of extreme contrasts, far more pleasing and satis-
for while you will often see factory than just so many
the most primitive of fron- beautiful sunlit scenes. The
tier conditions, they will in- ever-changing clouds and
variably be hand-in-hand fog-banks made an unend-
with the most modern as- ing variety of beautiful com-
pects of civilization. Fre- positions. Between them, the
quently, for instance, the half-concealed, snow-capped
fisher-folk will be found mountains and heavily-
living in the simplest of
wooded hills, splashed with
frame homes, sometimes
foaming waterfalls, make
hardly more than shacks
but many of them are equip- Model dairy which was once a building on the magnificent estate (Continued on Page 49)
ped with the most modern Napoleon gave to Josephine near Paris.
of radios! Incidentally, the
larger canneries have their
own radiophone systems for communicating with their
"brailers,” as they call the boats that bring the salmon in from
the traps. Another interesting contrast —
and one that is easier to
photograph —
is that shown by the varying systems of transpor-

tation. For on the one hand you will see proverbial dog-teams,
and on the other, the fastest and most modern of airplanes.
Aircraft, by the way, served us in good stead in our work, for
they brought us to many remote, and otherwise inaccessible
locations in only a few hours of flying. The major air services
in Southeastern Alaska are operated by the Alaska-Washing-
ton Airways, who use the familiar Lockheed “Vega” cabin
monoplanes, equipped with pontoons, which make all of
Alaska’s many coves, lakes and rivers ideal landing-fields.
There is a decided satisfaction, by the way, in flying over such
country in a seaplane, knowing that there is a landing field
under you at all times! And it is certainly from the air that
Alaska is seen at its best. For the whole beautiful coastline
is stretched out below you, with its hundreds of islands,
mountainous and wooded, its verdant mainland, dotted with
fresh-water lakes where a fisherman can bag a limit catch of
the sportiest fish in the world in an hour or two, and the blue
At Wrangel, Alaska, during the shooting of the “Silver Horde”.
November, 1930 AMERICAN CINEMATOGRAPHER Forty-seven

New Plunger Lock For Victor

Model 5 Camera

No camera can ke tetter tkan its lens. All

Carl CeissTessars ensure perfect definition

and krilliancy, even at full aperture,

and results will not t<

>e impaired ty

V
5 is
ICTOR added another refinement to the Model 5
has
Visual Focusing Camera. The Turret Front of the Model
equipped with 3 knurled aluminum shifting pins which
flare. Tk<tese are only a few reasons

make it possible for the head to be rotated without touching wky Carl Cciss Tessar L, enses
any of the lenses.
One of these pins has been converted into a plunger lock, f-* k ave unt versa l end orsement
which prevents accidental or unintentional shifting of the
turret, although it does not, of course, have any effect on
the quality of the pictures made with the Camera.
The lock operates on the “push-pull” principle. To unlock,
pull out the pin tip. When lenses have been rotated to the
desired position, simply push the pin tip back in, thus lock-

ing the turret rigidly in place.

The Victor Model 5 was the first 16 mm. American Camera mZEisr
to be equipped with built-in Visual Focusing. Victor prism J E-N A
Focusing is unique in that the Focusing Finder may be instantly
adjusted to the eyesight of the individual using the Camera
— a feature which promotes accuracy and which has not yet
been incorporated in any other 16 mm. Camera.
Another feature of this method of focusing to which the
manufacturer calls particular attention is that the focused im-
age is exact aperture size and shows all of the field taken in
by the lens. The ground surface of the focusing prism is ex-
actly the same distance from the lens as is the film when CARL ZEISS, INCORPORATED
pictures are being made, an arrangement that obviates the
necessity of using an internal compensating lens in the focus- *35 Fifth A ve v New York -s- 728 So. Hill St., Los Angeles
ing system. In other words, the eye sees in the Victor finder
the exact field that is transmitted by the lens to the film.

Kodatoy Bell & Howell Company Awarded Medal By

"IT HE EASTMAN KODAK COMPANY has just announced a
new projector which is what hundreds of youngsters
just
Chicago National Air Races Officials
have been waiting for, and which should be one of the best HE BELL & HOWELL Company has been awarded a bronze
Christmas presents any boy or girl could get this year. It is T commemorative medal in recognition of co-operation in
connection with the record-breaking National Air Races held
the Kodatoy, which is described by the Eastman Company as
a dependable motion picture projector that any youngster can in Chicago recently. The medal was awarded by the officers
thread up and run. and directors of the Chicago Air Race Corporation.
Prior to the races, a Filmo Projector was used to stimulate
The weight of this new projector, designed for the kiddies,
interest in the coming aviation events by showing movies of
is five and a half pounds. Footage is 100 feet of 16 mm.
last year’s Air Races all through the Chicago metropolitan area.
safety film, equal to 250 feet of standard 35 mm. film. It
These pictures were shown several times daily during a 30-day
has a 34 mm. projection lens and is said to be easy to focus.
period to various organizations with splendid results.
At the Air Races themselves, 16 mm. motion picture cam-
eras were very much in evidence. All over the closely crowded
At La Carenne, just outside Paris, a new sound-film studio seats spectators were to be seen using their Filmo movie cam-
has been opened, which is to be let to producers. It is eras to make motion pictures of the air events. Aviation will
insulated by an American (Banroc) system, and equipped with unquestionably open up a vast field for making interesting
Peterson-Poulsen sound recorders. motion pictures.
Eorty-eight AMERICAN CINEMATOGRAPHER November, 1 930

TRUEBALL TRIPOD HEADS

For follow-up shot*

are known for their
smoothness of operation,
equal tension on all
movements and being: un-
affected by temperature.

Model B
The Model B is for Bell
& Howell and Mitchell
Cameras and their re- “Laco Liteing” the “Whoopee” premiere
spective tripods.
The handle is tele-
scopic and adjustable to T IS in Hollywood. Thousands of
the night of an opening
any angle.
I curious men, women
and children jam the streets for blocks
about the theatre. It may be the opening of any big picture
The Model A is made
for Amateur motion pic- at any theatre the evening will be the same. The picture
ture
fits the
cameras and
Standard
also
Still
has been publicized
. . .

the director, the stars

. . even the fea-
. —
tripods. tured players and perhaps the author everyone is agog . . .

over the occasion. All are gathered to see the stars as they

Trueball tripod heads step from their expensive cars in their expensive clothes and
are unexcelled for sim- walk through the glare of the great lights into the theatre.
plicity, accuracy and
speed of operation. There is one thought in the minds of the vast crowds . . .

it is to see the stars.

The Hoefner four-inch

Iris and Sunshade com-
But —back inthe dark are a group of men who are never
considered. The average person in the great crowd never
bination is also a supe-
rior product. gives them a thought. They are the men behind the big lights
that make possible for the crowd to see the stars — they are
FRED HOEFNER
it

what, in the language of the studios are called, “juicers.”

5319 SANTA MONICA BOULEVARD These men are never given a line of publicity but what —
would we do without them either in the studio or at the
GLadstone 0243 LOS ANGELES, CALIF. openings?
So —weyou now that William O. Mellor, the chief
tell

electrician at theSamuel Goldwyn Studio was everywhere on the

night of the opening of “Whoopee.” He was directing the

AMATEURS
Keep Step with the Professionals by Reading The
Technical Cinematic Magazine of the Motion Pic-
exterior lighting and had under him a great force of able men
who never even dream of getting their names in the papers
But they did a good job. They made it possible for the stars
to be seen. And, as the above picture of the event shows,
he, his men and Laco Lites made a definite impression.
ture Industry.

THE AMERICAN W. E. Wins Patent Suit

CINEMATOGRAPHER I N THE rendered on Patents 1707545
first legal decision
and 1734624, Judge Raymond of the U. S. District Court,
Published in Hollywood by the American Society Western District of Michigan Southern Division sitting at
of Cinematographers, the leading professional cam-
Grand Rapids has ruled that these patents are valid and have
eramen of the world.
You cannot afford to be without it. been infringed upon.
For Amateurs —
Service department, special tech- The action was brought by the Western Electric Company,
nical articles by the world’s greatest authorities on which is sustained by the legal decision against the Kersten
cinematographic science, Radio Equipment of Kalamazoo, Michigan. The
Co., Inc.,
r Fill in and Mail Today]
patents cover the Western Electric loud speaker 555-W used
American Cinematographer, for talking pictures and the diaphragm of this loud speaker
1222 Guaranty Building, respectively.
Hollywood, Calif.
The decision derives additional significance from the fact
Gentlemen: Please find enclosed three dollars
($4.00 for foreign rate) for one year's subscription that after Western Electric filed its suit in the fall of 1929,
to the American Cinematographer, to begin the Kersten Company offered for the consideration of the
with the issue of 1930. court another design of loud speaker modified in an attempt
Name to avoid Judge Raymond’s decision holds that
infringement.
Address
both designs of Kersten’s speakers are an infringement of the
Town State
Western Electric Company’s patents.
 .

October, 1 930 AMERICAN C I N E M ATOC R A P H E R Forty-nine

Cine-Kodak Goes on Alaskan Location

(Continued from Page 46)

If one is ambitious, and rises

for a diversified reel of scenes.
ELMER
AKELEY
G. DYER
SPECIALIST
early, there always a composition of cloud-and-seascape that
is
Aerial Photography Since 1918
is worthy of a few feet of film, for the sun rises very early,

and sets very late in these northern latitudes. passed We Phone HE. 8116
another steamer at about nine o’clock one night; it was still
twilight, and by using the F .9 lens wide open,
: 1 secured a I

most interesting picture of the ship, which though perfectly

timed, preserved the twilight atmosphere of the scene, and Phone GL. 7507 Hours 9 to 5

even showed the incandescent lights in the main saloon of the Also by Appointment
ship. On clear days (of which there really are a few), it is
possible to get some beautiful sunsets at .about ten-thirty in
Dr. G. Floyd Jackman
the evening. DENTIST
But Alaska is not the only country which should be photo-
706 Hollywood First National Building
graphed in its native moods, rather than under the so-called
“ideal” conditions. Every country should be. The tropics are
Hollywood Blvd. at Highland Ave.
an equally outstanding example. One often hears both pro-
fessional and amateur photographers complaining of the ex-
tremely contrasty light conditions found in the tropics and the
south seas. To my mind, these contrasty lightings are just as
much a part of the country as the palm trees and coral. They HARRY PERRY, A.S.C.
are natural moods of the country, and should be photographed
as such. Of course, this does not mean that one must resign
himself to an absolute whitewash-and-soot type of picture,
MULTICOLOR FILMS
but neither should he go to the other extreme, and try for a
perfectly-balanced film. Tropical sunlight, snow-white
beaches, and heavily-shaded cocoanut groves are not conducive OXford 1908 HEmpstead 1128
to a uniformly exposed negative, but they can be so photo-
graphed as to strike a happy medium between actuality and
unreal, photographic perfection. By filming such subjects
either early or late in the day, with long cross-lights, a very
pleasant result can be obtained.
HARVEY Wm. PRIESTER
Insurance Experting
Similarly, what south sea reel can be complete without at CAMERA INSURANCE A SPECIALTY
least one of the torrential down pours that are so much a 510 Guaranty Building
part of the country? photographing one of these, a dark
In
6331 Hollywood Blvd., Hollywood, California
Tel: GLadstone 4811
foreground should be by shooting through an open
used,
doorway or arch, into the dripping background, which should
be rendered in a higher key. In such subjects, as in the moist
weather of Alaska, color filters should almost always be used, MITCHELL CAMERA
not so much with the idea of securing better color rendition,
but to aid in securing definite contrasts on days when the light FOR RENT OR SALE
is soft and diffuse. Speed Movement —
Fully Equipped 5 —
Matched Pan
The most interesting thing about photography is, to me, Tachar f.2.3 Lenses —
4-3-2-40 and 35 two 1,000-—
the fact that, whether one is an amateur or professional, or ft.and four 400-ft. Magazines —
Friction Head for Pan-
using a still or a movie camera, every day, every scene, brings ning —
Gear Box for Different Speeds —
Baby Tripod and
something new to be learned. And this trip to Alaska taught
me two things: the tremendous enjoyment of taking my Cine-
—
High Hat Cases for all with Yale locks.

Kodak on
moods of
with me, and the fact that the natural
location
a country are invariably more interesting as photo-
Glenn R. Kershner
graphic subjects than the so-called “ideal conditions” for which c/o A. s. C.
most of us so foolishly wait.

Mitchell and A K A CH A C
What is HOME Bell & Howell V_ A/ VI L KAj
SALES and RENTALS
without a . .

J. R. Lockwood
Cinematographic Phone
GRanite 3177
1108 North Lillian

HOLLYWOOD, CALIF.
Way
Cable Address
"LOCKCAMERA"

ANNUAL? Have you ordered your Cinematographic

Annual?
Hollywood
Fifty AMERICAN CINEMATOGRAPHER November, 1 930

S.M.P.E. Offers Film Rafio A Letter from Hollywood

(Continued from Page 16) (Continued from Page 20)
Among the papers read at the meeting were: "Meeting "Nope, just starting a French picture,” says the casting
Sound Film Competition Abroad,” by C. J. North and N. D. director, and the gang rush to the furnished rooms and apply
Golden of the Motion Picture Division, Bureau of Foreign and the scissors and return with the nicest French beards in the
Domestic Commerce. ‘‘Microphone Concentrators In Picture world —
then they eat —
for if they are hired they get seven
Production,” by Carl Dreher, RKO Studios. “Some Observa- and a half bucks and that means a lot of ham and egg sand-
tions on Stereoscopic Projection,” by J. B. Taylor, Research wiches out here. You can find any type of beard in the world
Laboratory, GeneralElectric Company. “International Rela- right on Sunset or Hollywood Boulevard any day you go out.
tions in the Sound Picture Industry,” by Dr. F. S. Irby, As- And speaking of eating. You can’t beat this town for
sociate Editor, Electronics. “Some
Studio RecordingNew originality and color. They have sandwich shops here where
Equipment,” by W. P. Dutton andVictor Com-
S. Read, RCA you drive up in your car and a pretty girl dressed in bare legs,
pany. "Dubbing and its Relation to Sound Picture Production,” slippers, and the most gorgeous yellow pajamas comes tripping

by Ceorge Lewin, Paramount Publix Corp. “Some Suggestions gayly and laughingly to your car and takes your order. Then
for Eliminating Fire Hazard from the Handling and Storage she brings your sandwiches and your coffee, and you can’t
of Film in Laboratories,” by R. C. Hubbard, Consolidated Film eat for looking at the pajamas and what they contain. I’ve
Laboratories. “Double Toning of Motion Picture Film,” by figured it all out, though. The other night rode up to one I

I. Crabtree and W. Marsh, Kodak Research Laboratories. of these places with a friend in his car. And you know, John,
J.

“Condensor and Carbon Microphones Their Construction and— I stared so hard and long at the girl forgot to eat, and when
I

Use,” by W. C. Jones, Bell Telephone Laboratories. “Improve- we left and handed back my tray gave her back the sandwich
I I

ments in Dynamic Speakers,” by I. B. Serge, Utah Radio untouched. There’s the answer, John. Look at the money
Products Corp. “A Damped Diaphragm Reproducer,” by they can make selling those same sandwiches maybe a dozen
Rudolph Miehling, Universal Sound System. “Aiding the The- times a night. Well, as long as they can get away with it,
atre Patron Who Is Hard of Hearing,” by F. H. Graham, Elec- more power to them. But them girls sure do knock your eye
trical Research Products, Inc. “The Photoflash Lamp,” by R. out — to say nothing of the pajamas.
E. Farnham, General Electric Company, Cleveland. “A Truck But —getting back to getting a job. think you had better
stay back in Pittsburgh for a while. I’m figuring on growing a
I

Mounted Laboratory For Diagnosis of Theatre Acoustic De-

fects,” by V. A. Schlenker, Vitaphone Corp. “Some Causes For beard before long, only you know how never could grow I

Variations in the Light and Steadiness of High Intensity any hair on my chin. Well, that is about all for this time,
Carbons,” by D. B. Joy and A. C. Downes, Research Labora- John. Next time want to tell you about the Hollywood cow-
I

tories, National Carbon Company, Cleveland, Ohio. “Require- boys who clutter up Cahuenga boulevard so you can hardly
ments For A Practical System of Three Color Subtractive get by without slashing your shins on a spur.
Cinematography,” by Palmer Miller and P. D. Brewster, As always, your determined friend,
Brewster Color Film Corp. “Principles and Processes of Photog- JOE.
raphy in Natural Colors,” by Glenn E. Matthews, Eastman
Kodak Research Laboratories. “Recent Developments in RCA •
Photophone Portable Recording Equipment,” by P. M. Robillard
and E. B. Lyford, RCA Photophone, N. Y. “Trend of Lamp Making Multicolor Two Miles Up
Development and Operation in Motion Picture Projectors (Continued from Page 44)
Employing 16 mm. film,” by V. J. Roper and H. I. Wood, Gen- that isn’t enough, try using a friction trip-head in the same
eral Electric Co. “Cinematographic Analysis of Mechanical condition at the same time!
Energy Expenditure in the Sprinter,” by C. A. Morrison and “But in spite of these difficulties, we
got our picture, sev-
W. O. Fenn. “Cinematography With the Laryngoscope,” by eral beautiful shots of the tossing billows of the clouds below
C. A. Morrison, Eastman Teaching Films. “Industry Adopts us, and, finally, a shot of the sun as it sank below the clouds
the Motion Picture Camera,” by A. H. Mogensen, Assistant That two-mile-high sunset, think, was one of the most
I

Editor, Factory and Industrial Management.

beautiful scenes I’ve ever shot. There was the great, orange
globe of the sun sinking below the horizon; the billowy ocean
• clouds in the foreground, gold where the sunlight hit the tops
of the clouds, purple in the shadows; while above and around
Church Paper Conducts Motion us the sky was a flaming mass of pink and gold and crimson.
Such a scene could never have been made in monochrome, but
Picture Department in Multicolor it seems just as beautiful in the projection-room
UCH extensive interest has been evidenced in the use of as it was that evening in the air.

S motion pictures in the church field, that the widely known “Then, for a final thrill —
we needed one, after the glory
if

religious magazine, The Expositor, has opened a questions of that sunset —came
the dash back to earth. With the sun-
and answers department to take care of inquiries from clergy- set, we knew would soon be pitch-dark below the
that it

men who desire information as to how to employ movies to clouds, so our pilot simply shoved the stick forward, and dove
the best advantage in their work. almost perpendicularly back to earth, through a hole in the
This department is conducted by Ford Hicks, Vocational clouds, and down into the dark world below. dropped We
Advisor of the Bell Cr Howell Company, Chicago. Letters of those ten thousand feet in about two minutes, levelled out,
inquiry have been received in considerable number from all and raced back to the field, to sink back to earth just as the
parts of the country. field landing-lights were turned on.
In addition to the questions and answers, The Expositor “The value of color cinematography for such scenes as these
makes it a practice to carry, each month, a general article, is rather obvious, but it is equally valuable for less spectacular

usually about 1000 words in length, on some interesting phase work. For color gives a real sense of depth to aerial scenes.
of movies in the church field. Practically all of the material If you are above the clouds, the glimpses you get of the earth

has to do with 16 mm. pictures. through the inevitable holes in the clouds makes you con-
J. M. Ramsey, Managing Editor is him-
of The Expositor, scious of being really up in the air. If you are lower down,

self motion picture enthusiast of genuine attainments. He

a and shooting obliquely at the earth, color makes things stand
has a number of articles on cinematography which
written out in their true relation. Not only do you feel that you are
have appeared in photographic publications, and he has also up in a plane, but you find that you can distinguish the dif-
at least one movie appliance invention to his credit. ferent objects below you.
 !

November, 1 930 AMERICAN CINEMATOGRAPHER Fifty-one

INDEX to ADVERTISERS Classified Advertising

Rates: Four cents a word. Minimum charge, one dollar
per insertion.
Bell & Howell Co 1, 35
YOUNG MAN steady position under capable Cinematographer.
seeks Some
Bredschneider, W. B 32 experience. Has Universal Camera. Not union. Willing to apply. CARL
Brulatour, Inc., J. E 21 NELSON, 164-12 110th Road. Jamaica, N. Y.

Boothe Company 27
WANTED— MOTION PICTURE CAMERAS
Cinematographic Annual 30, 31 WANTED —For cash, DeBrie. Pathe. Bell H Howell Standard cameras. Send
Composite Laboratories 32 full description. Bass Camera Company, 179 West Madison Street. Chicago.

WANTED—From cameramen, film of foreign countries.

Globe-trotting Ad-
Davidge, Roy.. 32 dress Rex Gordon, Hollywood, Calif. Phone GRanite 693 3.
Drem Products Corp 41
Dunning Process Co 26 FOR SALE— CAMERAS
DuPont Pathe Film Mfg. Co Inside Front Cover FOR SALE- —Five Mitchell cameras, each outfit complete. Prices range from
$2250 to $4500, according to age and added equipment. Hollywood
Dyer, Elmer 49 Camera Exchange. 1511 N. Cahuenga. Cable address Hocamex.
FOR SALE—Two Akeley cameras, each outfit complete. Price camera No. 44,
Eastman Kodak Co Inside Back Cover $600: No. 212, $1250. Hollywood Camera Exchange, 1511 N. Ca-
huenga. Cable address Hocamex.
Factor, Max 6 FOR SALE —
2 complete Mitchell High Speed Outfits, $3 5 00.00 each. Special
Fearless Camera Co 25 price for purchaser of both. Write or phone Editor of CINEMATOGRAPHER.

FOR SALE OR RENT —

-First Class Akeley Outfit complete. Phone GR-4274,
Coerz American Optical Co., C. P 41 or write Dan B. Clark. A. S. C. office.

Hoefner, Fred 48 FOR SALE —

Bell £S
Mitchell tripod,
Howell Camera,
four magazines,
170 degree:
steel cases.
three
Park
Lenses
J.
F
Ries.
2 5.
1540
Iris.
N.
Hollywood Camera Exchange -26, 28 Cahuenga Ave., GRanite 1185.

49
FOR SALE —Thalhammer 40mm. 50mm. 75mm F Iris. 3.5. Lenses in B. fcf H.
Jackman, Dr. G. Floyd mounts.Park 1540 Cahuenga
J. GRanite
Ries, N. Ave., 1185.

FOR SALE OR RENT—Complete Mitchell Camera, latest equipment. Rea-

Lakin Corp 5 sonable. Phone OX. 1908
Harry GR. 4274.
Perry. or
Lockwood, J. R 49 FOR SALE — Don Phone HE
Mitchell Speed Camera. B. Keyes, 1841.

Mitchell Camera Corp 43, Back Cover FOR SALE — $980.00. Wish
Akeley outfit. to sell Akeley camera, 200 ft.
capacity: Akeley tripod for same, 4 magazines in separate case. mag-
Mole-Richardson, Inc 2 1
azine in camera, matched 2-inch F:3.5 Zeiss: matched 3-inch F.3.5 Goerz,
Moreno-Snyder Cine Corp., Ltd 25 6-inch F:4.5 with finder lens:
lens. Mechanically O. K.
12-inch Dallmeyer, F.5.6 with finder
Marfleet, Box 202, Rock Falls, 111.
Moviola Company 29
FOR SALE— MISCELLANEOUS
National Carbon Co 4
FOR SALE
J. R.
— One
Lockwood.
Bell V
1108 N.
Howell Cinemotor. Like new. Used for one picture.
Lillian Way GR-3177.
Perry, Harry 49
Priester, Harvey W 49 FOR SALE OR RENT
HE- 1490 or A. S.
—
C.
Mitchell
Office.
Camera
GR-4274.
equipped for Sound. A1 Gilks,

Scheibe, George H 32 FOR SALE — Lenses, Accessories, of all kinds, new and used. Bargains. Holly-
w'ood Camera Exchange, 1511 N. Cahuenga. Cable Address Hocamex.
Smith Cr Aller, Inc Inside Front Cover
Superior Engraving Co 28 FOR RENT— CAMERAS
Tanar Corporation 7, 19 FOR RENT —Three Mitchell High Speed Cameras. Equipped for sound. 1000-
Ft. Magazines. J. R. Lockwood, 1008 North Lillian Way. GR-3177.
Zeiss, Inc., Carl 47
FOR RENT — Park
tripods.
Eight Bell
J.
& Howell
Ries,
cameras, fast lenses,
15 40 N. Cahuenga Ave.
large
GR-1185.
finders. Mitchell

rOR RENT — Akeley camera outfit. Mitchell tripod. magazines, equipped up

6
1540 N. Cahuenga Ave. GRanite 1185.

The TRAIL AHEAD

to 6 inch lenses. Park J. Ries,

FOR RENT— Mitchell Speed Camera, equipped for Sound. Phone Don B. Keyes.
HE- 1841.

Don’t miss the December issue of the FOR RENT— 2 Mitchell high speed cameras with latest 40. 5 0 and 75 mm.
Pan-Astro lenses. 1000 ft. magazines: loose head, tripod. Pliny Horne.
1318 N. Stanley, HO
7682 or GL 2791.
American Cinematographer! Better
FOR RENT —Onemm. Mitchell Speed camera fully equipped for sound. 40.
than ever! More Big Features! Be sure 5
6507
0 and
D
75
exel Ave.
and 4
ORegon 7492.
and 6 inch Pan Astro lens. Norman DeVol.

you FOR RENT— MISCELLANEOUS

—
Get Your Copy! FOR RENT
Lockwood, 1108
—
FOR RENT Two
Cinemotors.
North
One Mitchell
Lillian

Mitchell Tiltheads, one with Bell

Way.
and one
GR-3177.
Bell

0 Howell
Cinemotors.

adapter.
J.

J.
R.

R.
Lockwood, 1108 North Lillian Way. GR-3177.

FOR RENT-—Mitchell Motor. Also Mitchell Motor adapter. Mitchell and

WANTED —Position: Young man 23 years, intelligent, steady and am-
Bell U Howell Cinemotors with counter and batteries.
1540 N. Cahuenga. GR 1185.
Park J. Ries.

bitious. earnestly desires opportunity to learn cinematography or allied

profession that will lead to same.
Go anywhere, anv time Address
Hours work or salary no object.
Robert Feagans, Walnut Creek, Calif. FOR RENT— Phone Donald
ft.
Box
Mitchell Gear
magazines. HE-1841.
with crank and shaft.
B. Keyes,
Mitchell Motor: 1000

WANTED
to
— Young man 22, intelligent, ambitious and very willing
Position:
desires to be assistant cameraman.
learn: Have good knowledge of
FOR RENT— Mitchell friction tilthead with Bell 6S Howell adapter. J. R. Lock-
1108 N
wood, Way. GRanite 3177.
Lillian
sound motion pictures. Have had experience with silent film as free-
lancer. Have had eight years of still photography. P. C. Vance, 760 So. FOR RENT— Mitchell box high speed gear complete. Plinv Horne. 13 18
San Pedro St., Room 24, MA. 3 23 5, Los Angeles. N. HO 7682
Stanley. GL 2791. or
 —— — — ————— — — — ——
— —

Fifty- two AMERICAN CINEMATOGRAPHER November, 1 930

Co mplete Roster at Date of Publication

O F F 1 C E R S
HAL MOHR - - - President
VICTOR MILNER - - - Vice-President
First
ARTHUR MILLER - - Second Vice-President
CHARLES C. CLARKE - - - Third Vice-President

JOHN ARNOLD - - - - Treasurer

WILLIAM STULL - - - Secretary

BOARD OF GOVERNORS
John Arnold Chas. G. Clarke Fred Jackman Hal Mohr John F. Seitz
John W. Boyle Elmer Dyer Glenn R. Kershner Arthur Miller William Stull
Daniel B. Clark Alfred Gilks Victor Milner Sol Polito Ned Van Buren

PAST PRESIDENTS
Philip E. Rosen Fred W. Jackman Gaetano Gaudio Homer Scott James Van Trees
John F. Seitz John W. Boyle Daniel B. Clark
Arthur Webb, General Counsel

HONORARY MEMBERS
Mr. Thomas A. Edison, Orange, N. J. Mr. George Eastman, Rochester, N. Y.
Mr. Albert S. Howell, Chicago

ASSOCIATE MEMBERS
Mr. Emery Huse, Mr. Fred Gage, Dr. W. B. Rayton, Dr. C. E. K. Mees, Mr. Loyd A. Jones, Dr. V. B. Sease

—— — —
Abel, David

—
Allen, Paul H.
Pathe.

M-G-M.
Fisher, Ross G.
—
Flora, Rol la- -Fox.
Multicolor.

Jr.— New York.

Marta, Jack A. Fox.
McDonell, Claude— London,
Shearer, Douglas G.
Sintzenich, Harold
M-G-M.
Eastman ——
Arnold, John Folsey, Geo. J., England.
— Kodak Co., Bombay.

——
Miller, Arthur Pathe.
Archer, Fred
August, Joe — Fox. Gaudio, Gaetano
Gilks, Alfred
Warner Bros.
Technicolor.
Milner,
— —Paramount.
Victor-
Smith, Jack.
Snyder, Edward J. —Metro-
——
Mohr, Hal Universal. politan.
Bell,Chas. —Ray-Bell
E. Films, Good, Frank B. Warner Bros.
Gray, King D. Thunder Bay
Morgan, —M-G-M.
Ira H. Stengler, Mack —
Sennett
St.
Georges—
Paul.
— M-G-M. Studios.

— —
Film, Ltd. Nogle, George G.
Benoit,
Binger, R. O.— M-G-M. Paris.
Greenhalgh, Jack —-F-B-O.
Rene—
O’Connell, Wm. — L. Fox.
Stevens, George
Struss, Karl
Hal Roach.
United Artists.
John W.— R-K-O.
Ted—
Guissart, Elstree Studios,
Boyle, Stull, Wm.
Brown, —
Jas. S., Jr. Cal. Studio. England. Pahle,
— New York.
Pathe,
—W. — Fox Movie- ——M-G-M.
Palmer, Ernest Fox.
Fred—Colorado
Tappenbeck, Hatto
Carter, Claude —
C. Australia.
Haller, Ernest
Herbert, Chas.
First National. Parrish,
Springs, Colo.
Tolhurst, Louis H.
Fox.

——M. Harry —Caddo —

Chancellor, Philip tone, New York. Van Buren, Ned Eastman
Percy — M-G-M. —
Clark, Daniel B. Fox. Perry, Prod.
Clarke, Chas. G. Fox.
Hilburn,
Horne, —
Pliny — United
Perry, Paul P. Artists. Kodak Co., Hollywood.
Van Enger, Chas. J. Fox. —
Wm. — National.
Polito, Sol First
Cotner, Frank M.
Cowling, — Eastman Ko-
H. T.
Hyer, C. Educational. Pomeroy, Roy
Powers, Len
Van Rossem, Walter J.
Van Trees, James
dak Co., Rochester,

—Fox Movie-
N. Y. Jackman,
Bank
Dr. Floyd, 1st Nat.
Bldg., Hollywood. Wm. —Warner Varges, Ariel — Fox Hearst
Davis, Chas.
tone.
J. Jackman, Fred — Technical
Rees,
Vitaphone.
A. Bros. Corp., Tokyo, Japan.
DeVinna, Clyde M-G-M.
DeVol, Norman- R-K-O.
June, Ray—Warner
Director,
United
Bros.
Artists.
Ries,
Ritchie,
Park J.
Eugene Robt.
Wagner, Sidney —
—Columbia.
Walker, Joseph
C. Fox.

Dored, John —
Paramount News, Kershner. Glenn — 1st National. Lasky.
— Walker, Vernon —Warner
Paris,
Dubray, —
France.
A.
Bell &
Keyes, Donald
Artists.
— United B. Roos, Len H. Len H. Roos.
Laboratories, Hollywood.
Bros.
Warrenton, — Gilbert
L.

Universal.
Jos.
Howell, Chicago.
— Koenekamp, —Warner
H. F.
Rose, Jackson J.
Universal.
Wenstrom, Harold
— United
Dupar, E. B.
phone.
Warners’ Vita- Bros.
Kurrle, Robt. — Tec-Art. Rosher, Chas. M-G-M. — Westerberg,
Artists.
Fred

——
Dupont, Max Vitacolor.
E.

— Fox
——Paramount.
Schneiderman, Geo. Whitman, Phil H.
Dyer, Edwin L. M. P. A. Lang, Chas. B. Paramount. Wilky, L. Guy
Movietone.
Studios, New
—Caddo. Orleans. Lindon, Curly-
Lockwood, R.
Schoenbaum, Chas. —Techni- Williams, Frank D.
——
Walter— Harold
Dyer, Elmer G. J.
color. Wrigley, Dewey Metropolitan.
Lundin, Lloyd,
Arthur— Scott, Homer A. Wyckoff, Alvin Multicolor.

——United
Edeson, Fox. Metropolitan.
Seitz, John F. National.
Fetters, C. Curtis
Fildew, William
— Fox. MacWilliams, Glen —
Marsh, — M-G-M.
Oliver
Fox. Sharp,
Doug.
First
Henry
Fairbanks.
Artists, Zucker, Frank —Photo-
phone, New York.
C.
 Here are
all the qualities you want
LOOK over this list: — (1) true color

balance; (2) unique fineness of grain;

(3) unsurpassed latitude; (4) ample

speed; (5) ability to give splendid

shadow detail. Add these characteris-

tics: (1) a tough, wear-resisting base;

(2) unfailing roll-to-roll uniformity....

Then you have all the qualities you

want in your negative film. You can

get the full combination only in East-

man Panchromatic Negative, Type 2.

EASTMAN KODAK COMPANY

ROCHESTER, NEW YORK

J. E. Brulatour, Inc., Distributors

New York Chicago Hollywood
 LEW
3
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